'"LIBRARY  ^ 

UNIVERSITY  OF 
CALIFORNIA 
SAN  DIEGO 


Students'  Series  at  ILatm  Classics 
P.  TERENTI 

PHORMIO 


WITH  NOTES  AND  INTRODUCTIONS 

(BASED,  IN  PART,  UPON  THE  2D  EDITION  OF  KARL  DZIATZKO) 

BY 

HERBERT  CHARLES  ELMER,  PH.D. 

ASSISTANT  PBOFBSSOK  OP  LATIN  IN  THE  CORNELL  UNIVBESITT 


ov 


v  TroXX    aXXa  TroXu 


BENJ.   H.   SANBORN   &   CO. 

CHICAGO  NEW  YORK  BOSTON 

1916 


COPYRIGHT,  1895, 
HERBERT  CHARLES  ELMER 


Nortoooto 

J.  S.  Cuehing  &  Co.  —  Berwick  k  Smitb 
Norwood  Mass.  U.S.A. 


TO 

MY   FATHER 

C.  J.  lEImer 

IN  GRATEFUL   REMEMBRANCE 

OF   HIS   CONSTANT 
DEVOTION   AND   ENCOURAGEMENT 


PREFACE. 


THOUGH  the  Phormio  is  admittedly  one  of  the  best  of 
the  plays  of  Terence,  no  annotated  edition  of  it  suitable 
for  college  use  has  yet  been  published  in  America.  This 
fact  alone  makes  it  unnecessary,  I  hope,  to  apologize 
for  the  present  volume. 

While  the  text  of  this  edition  is,  in  general,  based 
upon  that  of  Dziatzko,  I  have  often  ventured  to  deviate 
from  his  readings,  prompted  sometimes  by  suggestions 
that  have  been  made  since  his  edition  was  published, 
sometimes  by  a  conviction  that  the  testimony  of  the 
manuscripts,  unless  demonstrably  false,  is  entitled  to 
more  consideration  than  arbitrary  alterations.  The 
Appendix  is  devoted  almost  exclusively  to  a  defense  of 
these  deviations  from  Dziatzko's  text  and  to  the  citation 
of  authorities  for  statements  made  in  the  notes 

In  preparing  the  commentary,  I  have  had  before  me 
all  important  editions  of  the  play  and  have  taken 
occasional  notes  from  that  of  Sloman  and  less  frequently 
from  that  of  Bond  and  Walpole. 

I  would  here  express  to  Professor  Karl  Dziatzko  my 
grateful  appreciation  of  his  courtesy  in  giving  me  per- 


VI  PREFACE. 

mission  to  use,  in  any  way  that  might  suit  my  purpose, 
the  very  valuable  material  collected  in  his  own  edition 
of  the  Phormio,  representing  as  it  does  a  thorough  study 
of  all  the  literature  upon  Terence  and  allied  subjects 
that  had  appeared  up  to  1884.  Much,  however,  has  been 
done  in  this  field  during  the  last  ten  years,  and  the 
results  of  such  labors  have,  so  far  as  seemed  desirable, 
been  incorporated  in  the  present  volume.  I  have 
thought  it  worth  while  to  append  below  a  classified 
bibliography  of  the  literature  especially  concerned  with 
Terence  that  has  appeared  since  the  completion  of 
Dziatzko's  edition. 

I  feel  myself  under  lasting  obligations  to  Professor  E. 
M.  Pease,  Editor-in-chief  of  the  series  to  which  this  book 
belongs,  to  Professor  C.  E.  Bennett  of  Cornell  University, 
and  to  Professor  H.  N.  Fowler  of  the  Western  Eeserve 
University,  for  the  searching  criticism  to  which  they 
have  subjected  all  parts  of  the  book.  I  am  further 
indebted  to  Professor  Pease  for  his  kindness  in  placing 
at  my  service  his  collation  of  the  Codex  Parisinus. 

H.  C.  ELMER. 
ITHACA,  1895. 


ABBREVIATIONS. 

A.  &  G.    Allen  &  Greenough's  Latin  Grammar. 

B.  Bennett's  Latin  Grammar. 

G.  Gildersleeve's  (Lodge)  Latin  Grammar. 

EL  Harkness'  Latin  Grammar. 


CONTENTS. 


MM 

INTRODUCTION .        .       ix 

The  Origin  of  the  Greek  Drama       .....       ix 
The  Early  Greek  Comedy         ......        x 

The  Later  Greek  Comedy xi 

Roman  Comedy .        .     xiii 

History  of  the  Text  of  Terence xxv 

Dramatic  Entertainments,  the  Actors,  the  Stage,  etc.       xxviii 
Division  of  Plays  into  Acts  and  Scenes    .        .        .          xxxii 

The  Metres  of  Terence xxxiii 

Adaptability  of  the  Various  Metres  to  Different  Moods   xxxvi 
Differences    in    the    Manner    of    Rendering    Various 

Rhythms ;  Musical  Accompaniment,  etc.  .        xxxvii 

Prosody  of  Terence xxxix 

Language  of  Terence xliii 

The  Phormio xlvi 

TEXT  OF  THE  PHORMIO,  WITH  STAGE  DIRECTIONS         .        .        1 

TABLE  OF  METRES  OF  THE  PHORMIO 70 

NOTES  TO  THE  PHORMIO          .        .        ...         •        •         .72 
APPENDIX         ..........     J53 

V 

INDEX  TO  NOTES 167 

BIBLIOGRAPHY    OF    THE    LITERATURE    ON    TERENCE    SINCE 

THE  COMPLETION  OF  DZIATZKO'S  EDITION  .        .         .     171 
vii 


INTRODUCTION. 


The  Origin  of  the  Greek  Drama. 

THE  Greek  drama  had  its  origin  in  the  village  festival  that 
was  wont  to  be  held  each  year,  at  the  vintage  time,  in  honor 
of  Dionysus,  the  god  of  wine,  the  bringer  of  good  cheer.  Dio- 
nysus, in  the  popular  fancy,  was  supposed  to  have  wandered 
through  the  world,  accompanied  by  a  band  of  satyrs  and 
nymphs,  spreading  his  worship  among  men,  encountering 
countless  dangers  and  hardships  in  his  progress,  now  falling 
into  the  hands  of  pirates  and  thrown  into  chains,  now  aiding 
the  gods  in  their  war  with  the  giants,  now  being  torn  to 
pieces  at  the  command  of  the  jealous  Hera,  but  springing  up 
again  with  new  life,  and  finally  triumphing  over  all  obsta- 
cles and  bringing  joy  and  blessing  to  all  mankind.  It  was 
customary  among  the  country  folk,  when  they  gathered  in  the 
grapes,  to  celebrate  the  adventures  of  this  god,  whose  bounty 
they  were  about  to  enjoy.  One  member  of  the  company 
would  impersonate  the  god  himself,  and  the  others  would  act 
the  part  of  his  attendant  satyrs;  and  the  story  of  the  god's 
adventures  would  thus,  in  a  rude  and  impromptu  fashion,  be 
enacted.  Some  parts  of  this  story  were  bright  and  gay, 
while  others  were  sad  and  tragic ;  and  it  was  in  these  rude 
attempts  to  represent  its  different  aspects  that  both  comedy 
and  tragedy  had  their  origin.  Tragedy,  however,  was  earlier 
than  comedy  in  reaching  maturity. 


X  t  INTRODUCTION. 

The  Early  Greek  Comedy. 

The  word  comedy  (/cw/AwSt'a)  means  literally  the  "song  of 
revelry "  (KW/XOS,  a8«v),  or  possibly  the  song  of  the  Ku>p.rj, 
i.e.  "village  song."  The  Dorians,  and  especially  one  Susa- 
rion  (about  580  B.C.),  seem  to  deserve  the  credit  of  having 
first  dramatized  the  rude  dialogue,  in  which  comedy  had  its 
origin,  and  given  it  something  like  a  literary  form.  The  prin- 
cipal representative,  however,  of  that  branch  of  literature,  be- 
I'ore  it  reached  the  perfection  it  attained  during  the  period 
of  Pericles,  was  Epicharmus,  a  contemporary  of  Aeschylus. 
He  was  born  on  the  island  of  Cos  about  540  B.C.,  and  from 
there,  at  the  age  of  three  months,  was  taken  to  Megara  in 
Sicily,  where  he  spent  most  of  his  life  and  where  he  died 
about  450  B.C.  But  comedy  did  not  reach  any  high  degree 
of  development  until  it  was  taken  up  by  the  master  artists 
of  Athens  in  the  time  of  Pericles.  The  conditions  of  Greek 
life  at  this  period  were  peculiarly  favorable  for  developing  this 
branch  of  writing.  The  intellectual  activity  and  the  highly 
developed  political  life  of  the  times  worked  together  to  bring 
it  rapidly  to  a  position  of  great  importance  and  influence. 
Cratinus,  Eupolis,  Phrynichus,  are  the  first  to  be  men- 
tioned as  writers  of  the  old  Attic  comedy,  but  these  are  of 
little  importance  in  comparison  with  Aristophanes  (fl.  427—388 
B.C.),  who  soon  appeared  upon  the  scene  and  became  by  far  the 
most  important  representative  of  this  school.  It  lies,  of  course, 
in  the  nature  of  comedy  to  depict  the  gay  and  humorous  ;  and 
at  the  time  with  which  we  are  now  dealing,  the  keen  and  ab- 
sorbing interest  taken  by  all  classes  in  politics  gave  direction 
to  the  popular  comedy.  Public  men  and  affairs  formed  its 
material.  These  were  subjected  to  that  keen  wit  with  which 
the  Athenians,  above  all  others,  were  endowed.  With  refer- 
ence to  form  and  technique,  it  was  natural  enough  that  comedy 
should  for  the  most  part  be  modeled  after  the  outlines  marked 
out  by  writers  of  tragedy,  which  already  existed  in  a  highly 
developed  form.  From  tragedy,  too,  comedy  largely  drew  its 
material  for  parodies. 


INTRODUCTION.  XI 

The  unfortunate  result  of  the  Peloponnesian  War,  which 
broke  the  fresh,  self-conscious  vigor  of  Athens,  forms  a  turning- 
point  in  the  history  of  Attic  comedy.  With  eager  participation 
of  the  people  in  public  affairs,  died  out  also  their  interest  in 
them;  other  and  narrower  interests  —  above  all,  material  inter- 
ests began  to  engross  their  attention.  They  had  been  wont  to 
spare  neither  pains  nor  expense  in  organizing,  equipping  and 
training  a  chorus  as  an  essential  feature  of  every  play.  But 
now,  while  they  still  continued  for  a  time  to  furnish  the  chorus, 
they  no  longer  felt  the  old  pride  in  providing  it  with  an  elabo- 
rate outfit,  or  in  training  it  when  equipped ;  and  their  growing 
indifference  ultimately  resulted  in  its  being  given  up  altogether. 
In  fact  the  Plutus  of  Aristophanes,  the  latest  of  the  eleven  plays 
of  that  author  which  have  been  preserved  to  us,  shows  that 
a  decided  change  in  this  respect  has  already  taken  place.  In 
lieu  of  choral  parts  having  an  organic  connection  with  the 
play,  is  found  between  the  acts  a  song,  borrowed  from  some 
other  source. 

The  Later  Greek  Comedy. 

The  new  Attic  comedy,  which  does  not  appear  fully  developed 
till  the  latter  part  of  the  fourth  century,  is  almost  wholly  sev- 
ered from  all  connection  with  public  life  and  shows,  in  compari 
son  with  the  old  comedy,  a  lack  of  variety  in  the  subjects 
treated,  a  decline  in  powers  of  invention,  and  lack  of  the  old 
boldness  in  handling  materials.  We  have,  however,  some  com- 
pensation for  this  loss.  As  a  result  of  continual  painstaking 
practice,  there  is  greater  smoothness,  a  more  artistic  finish  in 
language  and  action,  a  treatment  showing  closer  attention  to 
detail,  and  a  more  polished  technique.  Comedy  now  is  a  tame 
society  play,  dealing  merely  with  the  manners  and  customs  of 
family  life.  Even  the  materials  that  chance  to  be  borrowed 
from  other  sources,  e.g.  from  mythology,  are  treated  in  like  man 
ner.  The  abuses  practiced  in  public  life  no  longer  receive  notice 
even  by  so  much  as  an  allusion.  At  the  same  time  personal 


Xii  INTRODUCTION. 

attacks  upon  individuals  have  ceased;  only  typical  characters, 
such  as  bragging  soldiers,  sponging  parasites,  and  insolent  syco- 
phants, are  held  up  to  ridicule.  As  compensation  for  this  nar- 
rower range  of  subjects,  appears  invention  of  new  situations 
and  of  amusing  complications  out  of  which  the  same  ever-re- 
curring characters  have  to  extricate  themselves.  In  this  respect 
the  fruitful,  untiring  genius  of  the  poets  of  the  new  comedy 
challenges  our  admiration,  though  our  estimate  of  them  is  based 
upon  mere  fragments  from  their  plays  and  upon  Latin  plays  that 
are  modeled  after  them. 

With  reference  to  dramatic  arrangement  and  technique,  the 
new  comedy  as  well  as  the  old  is  modeled  after  tragedy,  and 
especially  after  the  tragedy  of  Euripides.  It  is  characterized  by 
the  same  moralizing  tone  prevalent  in  the  works  of  that  author. 
The  numerous  maxims,  however,  which  lend  this  color  are,  in 
the  new  comedy,  brought  into  the  play  only  incidentally,  while 
in  the  old  Attic  comedy,  with  its  vigorous  assaults  upon  every- 
thing that  was  blameworthy,  they  seemed  an  organic  part  of  the 
play  itself. 

Among  the  poets  of  the  new  Attic  comedy,  of  whom  there 
were  more  than  sixty,  the  most  distinguished  in  the  judgment  of 
antiquity  was  Menander  (342-290  B.C.).  Next  to  him,  Phile- 
mon. Diphilus.  Philippides,  Posidippus,  and  Apollodorus  of 
Carystus,  are  to  be  named  as  the  favorite  writers  of  comedy.  Of 
the  original  productions  of  these  poets  only  a  few  fragments 
have  come  down  to  us.  We  have,  however,  Latin  adaptations 
from  some  of  their  plays  in  the  two  great  comic  poets  of  Rome, 
Plautus  and  Terence. 

Of  course  the  transition  from  the  old  to  the  new  comedy  was 
a  gradual  one.  It  extended  over  a  period  of  fifty  years,  from 
the  Plutus  of  Aristophanes  (presented  first  in  408  and  again, 
this  time  in  a  revised  form  and  without  chorus  and  parabasis, 
in  388)  to  about  the  time  of  the  Macedonian  sovereignty  (338). 
The  best  known  poets  of  this  period  are  Aiitiphaiies  and 
Alexis.  Whether  we  should  look  upon  this  so-called  middle 
comedy  as  forming  a  distinct  type  by  itself  may  be  questioned  j 


INTRODUCTION.  Xlll 

but  at  any  rate  the  division  into  the  old  and  the  new  is  an  im- 
portant one,  and  each  of  these  two  classes  is  marked  by  well- 
defined  characteristics. 

The  new  comedy,  in  its  development,  coincides  with  the 
political  decline  of  Greece  and  with  the  gradual  decay  of  her 
art.  As  compared  with  the  old  comedy,  it  shows  in  many  re- 
pects  unmistakable  retrogression.  As  a  natural  result,  how- 
*rer,  of  the  conditions  already  indicated,  it  is  free  from  that 
distinctly  local  coloring,  which  makes  even  a  play  of  Aris- 
tophanes often  unintelligible  to  one  who  is  not  familiar  with  the 
condition  of  affairs  in  Athens  at  the  time  the  play  was  written ; 
it  has  the  cosmopolitan  character,  which  becomes,  during  the 
fourth  and  third  centuries  before  Christ,  more  and  more 
peculiar  to  Greek  life.  It  was  owing  to  this  peculiar  cosmo- 
politan character  that  the  new  comedy,  about  the  middle  of  the 
third  century  before  Christ,  found  a  welcome  in  Rome  —  a  city 
highly  developed  politically,  but  as  yet  without  a  literature. 
That  the  comic  poets  of  Rome  chose  the  material  for  their 
translations  and  adaptations  exclusively  from  the  new  (and  the 
so-called  middle)  comedy,  is  not  then  due  wholly  to  the  fact  that 
that  kind  of  writing  was  still  flourishing  when  Roman  litera- 
ture began. 

Roman  Comedy. 

The  ancient  Romans,  like  the  Italians  of  to-day,  had,  as  one 
of  their  notable  characteristics,  a  fondness  for  the  dramatic, 
and  especially  for  the  comic.  Vergil,  in  Georg.  II.  385-396  (cf. 
Hor.  Ep.  II.  1,  139  ff.),  pictures  the  gaieties  of  rural  festivals, 
at  which  improvised  jests,  in  rude  verse,  were  exchanged  in 
animated  dialogue.  These  versus  Fescennini,  as  they  are 
commonly  called  (after  the  town  of  Fescennia),  had  no  liter- 
ary importance  ;  but  still  we  see  in  them  germs  similar  to 
those  from  which  the  Greeks  developed  their  artistic  comedy. 
It  is  interesting  also  to  note  that  a  process  of  development 
seems  to  have  set  in  on  Roman,  much  as  it  did  on  Greek, 


XIV  INTRODUCTION. 

soil.  As  a  demand  was  felt  for  something  less  rude  thait 
these  versus  Fescennini,  a  form  of  representation  arose  for  which 
preparation  was  made  beforehand  and  less  was  entrusted  to 
improvisation.  To  add  to  the  interest  of  the  entertainment, 
the  verses  were  now  accompanied  by  music  and  dancing,  and 
the  whole  performance  in  this  improved  form  took  the  name 
of  Satura.  These  performances,  if  we  may  accept  the  com- 
mon view  regarding  the  meaning  of  the  term  saturae,1  seem  to 
have  been  devoid  of  any  connected  plot,  but  they  demanded 
a  certain  amount  of  care  and  skill  on  the  part  of  the  per- 
formers, and  accordingly  a  class  of  people  began  to  devote 
special  attention  to  acting  as  a  profession.  We  must  of  course 
look  upon  these  saturae  (of  which  the  contents  were  of  a  purely 
local  character,  and  the  structure  even  yet  not  artistic)  as 
entirely  different  from  the  Greek  comedies  as  far  as  their 
contents  and  their  structure  were  concerned.  A  nearer  ap- 
proach to  dramatic  form  was  made  in  the  fabulae  Atellanae, 
so-called  because  they  are  said  to  have  originated  in  the  Cam- 
panian  town  of  Atella.  The  fabulae  Atellanae  were  broad  farces 
in  which  figured  stock  characters  analogous  to  the  clown,  pan- 
taloon and  harlequin  of  a  modern  pantomime.  Rude  as  all 
these  performances  were,  they  nevertheless  awakened  in  the  Ro- 
man public  an  interest  in  dramatic  representations.  Under 
favorable  circumstances  they  might  have  developed  into  an 
artistic  drama  that  would  have  been  truly  Roman  in  thought 
and  feeling. 

But  there  now  appeared  on  the  scene  an  influence  that  was 
destined  to  dominate  the  whole  course  of  Roman  literature. 
After  the  war  with  Pyrrhus,  the  Romans  came  into  closer  con- 
tact with  the  Greek  cities  of  southern  Italy  and  Sicily,  and  had 
their  attention  called  to  the  creations  of  Greek  genius.  They 


1  In  an  interesting  paper  on  "The  Dramatic- Satura  and  the  Old 
Comedy  at  Rome"  (Am.  Journ.  Phil.,  Vol.  XV.),  Hendrickson  further 
develops  the  theory  of  Leo  that  satnra  in  Livy  (7,  2)  is  merely  the 
designation  of  au  assumed  Roman  parallel  to  the  old  Greek  comedy. 


INTRODUCTION.  XV 

never  recovered  from  the  spell  that  was  thus  cast  about  them, 
instead  of  attempting  to  create  a  literature  of  their  own  along 
independent  lines,  they  now  devoted  themselves  chiefly  to  copy- 
ing the  masterpieces  of  Greece.  The  first  fruits  of  this  new 
influence  were  seen  in  mere  translations  and  adaptations  from 
the  Greek.  The  comedies  that  were  thus  translated,  or  adapted, 
are  called  fabulae  palliatae,  from  the  Greek  cloak  (pallium) 
worn  by  the  actors,  to  distinguish  them  from  the  fabulae  togatae 
in  which  Roman  manners  were  represented.  The  first  writer 
to  be  mentioned  in  this  connection  is  Livius  Andronicus, 
who  was  born  at  Tarentum  about  284  B.C.  After  the  capture 
of  his  native  city  in  272  B.C.,  he  became  the  slave  of  M.  Livius 
Salinator,  who,  charmed  by  the  talents  of  the  young  man,  soon 
afterwards  gave  him  his  freedom.  In  240  Livius  was  engaged 
to  produce,  as  one  of  the  attractions  of  the  ludi  Rmnani,  two 
Latin  plays,  a  tragedy  and  a  comedy,  adapted  from  Greek  origi- 
nals. Such  dramatic  entertainments  had  for  a  long  time  been 
regularly  given  in  the  original  Greek  in  the  towns  of  southern 
Italy  and  so  were  more  or  less  familiar  to  the  Romans.  These 
performances  found  such  favor  at  Rome  that  from  this  time  on 
they  became  a  regular  part  of  the  games.  Livius  Andronicus 
must  then  be  looked  upon  as  having  introduced  a  new  era  for 
the  Roman  people.  In  Livy  the  historian  (7,  2),  the  existence 
of  a  connected  plot  and  the  systematic  arrangement  of  the  con- 
tents are  designated  as  the  features  that  distinguished  the  new 
drama  from  the  old  satura.  It  was  further  distinguished  by 
the  employment  of  Greek  metres  and  by  differences  in  the 
form  of  representation.  Only  a  few  fragments  of  the  plays  of 
Livius  have  come  down  to  us.  We  know,  however,  that  he  was 
held  in  so  great  esteem  at  Rome  that,  in  honor  of  him,  the  tem- 
ple of  Minerva  on  the  Aventine  was  appropriated  to  the  use  of 
scribae  et  histriones,  who  organized  themselves  into  a  sort  of  poets' 
guild. 

Another  writer,  likewise  active  in  both  tragedy  and  comedy, 
was  Cn.  Naevius,  a  native  of  Campania,  born  about  265  B.C. 
Being  a  Latin  by  descent,  he  took  part  in  the  First  Punic  War, 


XVI  INTRODUCTION. 

a  conflict  which  he  afterward  described  in  Saturnian  verse. 
After  235  B.C.,  we  find  him  noted  at  Rome  as  a  fiery  and 
popular  poet,  especially  in  the  field  of  comedy.  Fragments  of 
thirty  of  his  comedies  have  come  down  to  us.  The  violent 
attacks  which  he  made  on  the  highest  families  of  Rome  led 
ft  his  imprisonment  and  later  to  his  banishment.  He  died 
in  exile  in  201  B.C.,  or,  according  to  some  authorities,  a  little 
later. 

T.  Maccius  Plautus  was  a  writer  of  comedies  only.  He  was 
born  at  Sarsina  in  Umbria,  about  254  B.C.  On  coming  to  Rome, 
he  found  employment  at  the  hands  of  certain  theatrical  mana- 
gers. What  he  saved  from  his  earnings  here  he  subsequently 
lost  in  foreign  speculation,  after  which  he  returned  penniless 
to  Rome  and  was  compelled  to  earn  his  bread  at  hard  labor  in 
a  mill,  a  duty  generally  reserved  for  the  lowest  slaves.  His 
employment  in  the  theatre,  however,  had  interested  him  in  the 
stage,  and  he  resolved  to  turn  to  account  the  knowledge  this 
experience  had  given  him.  He  accordingly  found  time,  even 
amid  the  unfavorable  conditions  surrounding  him,  to  write 
comedies,  and  in  a  short  time  he  became  the  most  popular  of 
comic  poets.  His  death  came  in  184  B.C.,  but  the  popularity  of 
his  plays  remained  undiminished ;  and  when,  after  the  middle 
of  the  second  century  B.C.,  it  became  customary,  instead  of  pre- 
senting new  plays,  to  bring  the  old  again  and  again  upon  the 
stage  (see  p.  xxv),  the  comedies  of  Plautus  long  continued  to 
be  among  the  chief  attractions  of  the  theatre.  So  great  indeed 
was  his  popularity  that  plays  of  other  writers  were  frequently 
given  out  under  his  name,  to  create  a  prejudice  in  their  favor. 
One  hundred  and  thirty  plays  were  at  one  time  ascribed  to  him. 
Of  these  Varro  pronounced  twenty-one  as  certainly  genuine, 
nineteen  others  as  probably  so.  All  but  one 1  of  these  twenty- 
one  genuine  plays  have  come  down  to  us,  although  some  are 
in  a  more  or  less  fragmentary  condition.  The  Ambrosian 
palimpsest  of  Plautus  (of  the  fifth  century)  originally  con- 


i  The  Vidularia. 


INTRODUCTION.  XV11 

tained  also  the  lost  play,  as  three  leaves  of  this  Ms.  still  bear 
witness. 

We  hear  of  a  certain  M.  Plautius,  belonging  to  about  the 
same  period,  who  was  also  a  writer  of  comedies,  but  we  know 
nothing  very  definite  about  him.  The  similarity  between  his 
name  and  that  of  Plautus  may  easily  have  brought  it  about 
that  his  plays  were  ascribed  to  the  better  known  poet. 

Q.  Eimius  is  chiefly  noted  for  his  epic  poem  called  Annales  — 
in  which  he  relates,  in  eighteen  books,  the  entire  history  of  Rome 
from  the  earliest  times  down  to  his  own  —  for  his  saturae,  and 
his  tragedies.  But  he  also  attempted  comedy,  and  so  deserves 
mention  here.  He  was  born  at  Rudiae  in  Calabria  in  239 
B.C.  He  was  brought  to  Rome  from  Sardinia  in  204  by  the 
quaestor  M.  Porcius  Cato,  and  here  he  seems  to  have  lived 
in  moderate  circumstances  as  teacher  of  Greek  and  as  stage 
poet.  In  184  B.C.  he  received  the  right  of  Roman  citizenship 
which  he  lived  to  enjoy  for  fifteen  years.  None  of  his  come- 
dies have  come  down  to  us  —  not  even  in  fragments  of  any 
importance. 

The  next  poet  worthy  of  mention  in  this  connection  is 
Statius  Caecilius,  who  enjoyed  an  enviable  reputation  among 
the  ancients  as  a  writer  of  palliatae,  and  who  was  an  important 
forerunner  of  Terence.  An  Insubrian  by  birth,  he  came  to  Rome 
about  194  B.C.,  probably  as  a  captive  taken  in  war.  Later,  how- 
ever, he  was  given  his  freedom.  His  first  attempt  at  comedy 
failed  and  was  not  even  heard  to  the  end  by  the  impatient 
audience ;  but  he  toiled  on  till  he  won  literary  fame  and  a 
name  among  comic  poets  second  only,  as  yet,  to  that  of  Plautus. 
He  died  soon  after  Ennius,  with  whom  in  life  he  had  been  on 
the  most  intimate  terms. 

We  now  come  to  a  poet  who  calls  for  a  more  extended  notice, 
one  whose  name  is  always  coupled  with  that  of  Plautus  as  one 
of  the  two  greatest  names  in  Roman  comedy,  —  Publius  Teren- 
tius  Afer.  He  was  a  native  of  Carthage.  His  surname,  Afer, 
however,  makes  it  probable  that  he  was  not  of  Phoenician 
blood,  but  that  his  parents  belonged  to  one  of  the  African 


XV111  INTRODUCTION. 

tribes  subject  to  the  Carthaginians.1  The  date  of  his  birth  was 
about  190  B.C.2  At  an  early  age,  he  came  to  Rome  as  a  slave 
of  the  senator  Terentius  Lucanus,  though  how  this  fact  should 
be  explained  is  a  disputed  question.  He  can  hardly  have  been 
taken  captive  in  war,  as  he  was  born  after  the  end  of  the  Second 
Punic  War  and  died  before  the  beginning  of  the  next  war  with 
Carthage.  Possibly  he  was  carried  off  by  enemies  of  his  native 
city,  in  early  youth,  and  later  brought  to  Rome.  Be  this  as  it 
may,  his  master,  struck  by  the  talent  and  the  prepossessing  ap- 
pearance of  the  boy,  not  only  caused  him  to  be  carefully  edu- 
cated, but  also  gave  him  his  freedom.  The  associations  to 
which  he  had  been  accustomed  in  the  house  of  his  master 


1  For  the  meaning  of  Afer,  see  Em.  Baehrens  (N.  Jahrb.  f .  Phil.  1881, 
p.  401  f .) .    His  attempts,  however,  to  show  that  this  is  inconsistent  with 
the  tradition  that  Terence  was  born  at  Carthage,  is  far  from  convinc- 
ing.    There  must  have  been  many  enslaved  Afri  (Greek  A^Sues)  in 
Carthage,  and  if  we  suppose  Terence  to  have  been  the  son  of  one  of 
these,  to  have  been  brought  to  Rome  and  to  have  been  named,  as  was 
customary  in  the  case  of  slaves,  after  the  nation  to  which  he  belonged, 
he  would  naturally  have  been  called  Afer  (not  Poenulus,  even  though 
born  at  Carthage).    For  parallel  instances  in  the  case  of  soldiers  of 
imperial  times,  cf.  Th.  Mommsen,  Herm.  XIX.  29  ff.,  especially  p.  35  f. 

2  The  date  generally  given  is  185  B.C.,  in  accordance  with  Suetonius 
in  his  vita  Terenti,  p.  32  (ed.  Ritschl  in  Reifferscheid,  Suet.  p.  26  ff.  and 
481  ff .  =  Opusc.  Ill,  204  ff .) .    But  H.  Sauppe  (Nachr.  d.  Gott.  Ges.  1870, 
p.  Ill  ff.)  has  made  this  seem  very  improbable.    The  year  of  Terence's 
birth,  like  that  of  many  other  famous  men  of  antiquity,  was  not  definitely 
known  even  to  the  scholars  of  ancient  Rome.      In  attempting  to  estab- 
lish the  date  they  acted  on  the  supposition  that  Terence  was  of  the  same 
age  as  P.  Scipio  Africanus  the  younger.     But  we  know  that  Terence 
brought  out  his  first  piece,  the  Andria,  as  early  as  166  B.C.,  in  view  of 
which  fact  we  are,  Sauppe  thinks,  forced  to  conclude  that  he  must  have 
been  several  years  older  than  Scipio.    Otherwise  the  Andria  must  have 
been  produced  when  the  author  was  only  nineteen  years  of  age,  and  such 
a  production  would  have  required  several  years  of  careful  preparation. 
But  it  bears  every  evidence  of  being  the  work  of  mature  years.    To  be 
sure,  Terence  does  not  deny  the  taunt  of  his  opponent  (Heaut.  Prol.  vs. 
23),  Repente  ad  studium  hunc  (Terentium)  se  adplicasse  musicum. 


INTRODUCTION.  xix 

made  it  easy  for  him  to  keep  up  his  connections  with  the  nobility 
of  Rome.  The  same  traits  of  character  which  had  procured 
for  him  his  freedom  assured  him  the  favor  of  the  sons  of  the 
highest  families ;  for  one  must  remember  that  at  that  time  in 
Rome  it  was  for  the  most  part  the  patricians,  who,  in  art  and 
literature  as  well  as  in  politics,  looked  beyond  the  narrow 
boundaries  of  fatherland  and  felt  a  lively  interest  in  a  broader 
and  higher  intellectual  culture.  Among  the  friends  of  Terence 
who  were  members  of  the  nobility,  ancient  authorities  name 
Scipio  Africanus  the  younger,  C.  Laelius,  and  L.  Furius  Philus. 
From  the  first  he  seems  to  have  held  himself  entirely  aloof  from 
the  narrower  circle  of  the  poets  of  Rome,  who,  as  has  already 
been  pointed  out  (p.  xv),  had  formed  themselves  into  a  guild. 
This  at  any  rate  is  the  simplest  explanation  of  the  story  that 
the  aged  poet  Caecilius,  to  whose  approval  Terence  was  obliged 
to  submit  his  first  play,  the  Andria,  before  the  aediles  would 
allow  it  to  be  produced  at  the  games,  knew  nothing  at  all  of  the 
young  poet.  The  passage  already  cited  from  Heaut.  Prol.  vs. 
23  f.  harmonizes  with  this  supposition: 

Repente  ad  studium  hunc  se  adplicasse  musicum, 
Amicum  ingenio  /return,  hand  natura  sua. 

The  open  jealousy  and  hatred  felt  toward  Terence  by  other 
poets  arose  largely  from  his  disinclination  to  affiliate  with  them. 
Content  with  the  applause  which  he  won  from  the  ranks  of  the 
nobility,  he  cared  little  for  the  approval  of  others. 

It  was  believed  by  many  in  antiquity  that  the  distinguished 


But  from  this  we  are  to  infer  merely  that  he  had  not  made  himself 
known  among  the  poets  of  Rome  long  before  his  first  appearance  with 
a  drama.  Indeed,  the  statement  that  he  had  suddenly,  i.e.  unexpect- 
edly, adopted  the  poet's  calling,  seems  more  naturally  used  of  a  man 
who,  in  his  earlier  years,  had  not  followed  such  pursuits,  or  at  least 
had  not  let  it  be  known  that  he  did.  Lastly,  the  poet  is  not,  in  any 
of  his  prologues,  obliged  to  defend  himself  against  the  charge  of  ex- 
treme youth;  on  the  contrary,  he  himself  (Heaut.  Prol.  vs.  51)  scorn- 
fully speaks  of  his  opponents  among  the  spectators  as  adulescentuli. 


XX  INTRODUCTION. 

friends  of  Terence,  above  referred  to,  aided  him  in  his  literary 
work,  and  even  that  large  parts  of  his  dramas  were  written  by 
them.  This  report  originated  with  those  who  were  jealous  of 
Terence's  success,  and  it  probably  gained  credence  from  the 
non-committal  words  of  the  poet  when  referring  to  that  re- 
port. It  can  hardly  be  doubted  that  Terence  actually  did 
receive  much  encouragement  in  various  ways  from  his  noble 
friends  and  even  profited  at  times  by  their  advice,  but  further 
than  this  there  is  no  good  reason  to  suppose  that  he  was  de- 
pendent upon  them.  His  language,  to  be  sure,  is  that  of  the 
highest  and  most  cultured  society  of  his  time,  but  this  is  to  be 
looked  upon  as  a  result  of  his  constant  intercourse  with  that 
society,  and  need  not  cast  any  suspicion  upon  the  authenticity 
of  his  plays. 

The  literary  tendency  of  the  times,  as  well  as  his  own  inclina- 
tion, led  the  poet  to  devote  his  activity  to  the  fabula  palliata, 
although  the  period  of  its  decline  was  now  near  at  hand.  Ter- 
ence produced  his  first  comedy,  the  Andria,  at  the  ludi  Mega- 
lenses,  in  April,  166  B.C.  The  aediles,  who  had  charge  of  the 
games,  had  some  misgivings  about  allowing  the  presentation 
of  a  play  by  an  entirely  unknown  poet.  He  was  accordingly 
induced  to  submit  his  play  first  to  the  older  poet  Caecilius,  for 
approval.  Regarding  the  meeting  between  these  two  poets,  the 
following  story  is  told.  Terence  found  Caecilius  at  dinner, 
and,  as  the  caller  was  meanly  dressed,  he  was  given  a  seat  on  a 
bench  near  the  couch  on  which  the  great  author  was  reclining, 
and  was  then  given  permission  to  read  what  he  had  written. 
After  the  first  few  verses  had  been  read,  Caecilius  was  so  capti- 
vated by  the  young  man's  talents  that  he  invited  him  to  a  place 
beside  him  upon  the  couch.  He  then  listened  attentively  and 
with  unbounded  admiration  to  the  remainder  of  the  play.1 


1  Hieronymus,  in  Euseb.  Chron.  Olymp.  CL  2,  places  the  death  of 
Caecilius  in  the  year  after  that  of  Eunius  (who  died  169  B.C.).  But 
the  Andria  was  not  produced  till  166  B.C.  The  question  arises  whether 
the  date  of  Caecilius'  death,  as  given  in  Hieronymus,  rests  upon  an 


INTRODUCTION.  XXI 

The  order  of  presentation  of  the  plays  of  Terence,  during  the 
lifetime  of  the  poet,  may  be  seen  from  the  following  table  : 

Andria at  the  ludi  Megalenses,  166  B.C. 

Hecyrai "         "  "  165    " 

Heauton  timorumenos    ..."         "  "  163    " 

Eunuchus "         "  "  161    " 

Phormio "        "    Romani        161    " 

Hecyra "        "   'funerales  of  Aemilius  Paulus, 

160  B.c.2 

Adelphoe8 "         "    funerales  of  Aerailius  Paulus, 

160  B.C. 

Hecyra "        "    Romani,       160  B.C.* 

Four  of  these  are  translations  from  Menander;  two  (Hecyra 
and  Phormio),  from  Apollodorus  of  Carystus,  who  flourished 
between  300  and  260  B.C. 

It  is  not  to  be  wondered  at  that  the  earliest  writers,  in  adapt- 
ing the  productions  of  foreign  genius  to  Roman  ears,  should 
give  them  something  of  a  native  character,  and  we  accordingly 


error,  or  whether  the  first  production  of  the  Andria,  in  spite  of  the 
praise  accorded  it  by  Caecilius,  was  postponed  for  several  years. 
Dziatzko  agrees  with  Ritschl  in  the  supposition  that,  in  Hieronymus' 
words:  mortuus  est  (Caecilius)  anno  post  mortem  Ennii  et  iuxta  lanic 
ulum  .  .  .  ,  a  numeral  has  fallen  out  after  Ennii,  and  that  it  should 
read  anno  ...  Ill  (tertio) ,  or,  as  Dziatzko  thinks  more  probable,  IIII 
or  IV  (quarto) . 

1  This  attempted  presentation,  however,  proved  a  failure;  and  tradi- 
tion accordingly  assigns  the  Heaut.  to  the  second  place,  the  Eun.  to 
the  third,  etc. 

2  Second  unsuccessful  presentation. 

3  Pet.  Langen  (Phil.  Eundsch.  1881,  p.  1122)  claims  that  Terence 
called  the  play  Adelphi,  and  that  the  ending  -oe  is  due  entirely  to  the 
composer  of  the  didascalia.     But  Heaut.  Prol.  5,  Heauton  timoru- 
menon,   and   Phorm.  Prol.  25,   Epidicazomenon,  show   that,  in   the 
titles  of  fdbulae  palliatae  at  the  time  of  Terence,  not  only  the  Greek 
names,  but  also  the  Greek  terminations,   were  retained   so  far  as 
possible,  except  where  a  Greek  word  had  been  naturalized  in  Latin 
—  as  is  the  case,  for  instance,  with  Eunuchus. 

*  Third  and  successful  presentation. 


XX11  INTRODUCTION. 

find  that  all  the  plays  of  Plautus  bear  Latin  titles  (Asinaria, 
Aulularia,  Captivi,  etc.),  except  in  plays  like  the  Amphitruo 
and  the  Epidicus,  where  the  title  is  taken  from  the  Greek 
name  of  a  person  in  the  play.  The  plays  of  Plautus,  too, 
abound  in  Roman  allusions,  although  the  general  coloring, 
even  in  Plautus,  is  of  course  distinctly  Greek.  Later,  however, 
as  the  influence  of  Greek  culture  came  to  be  more  widespread, 
there  was  an  ever-increasing  tendency  to  make  the  Latin  plays 
more  nearly  like  the  Greek  from  which  the  plots  were  taken. 
Indeed,  the  contemporaries  of  Terence,  among  them  his  chief 
adversary,  Luscius  Lanuvinus,  made  it  a  point  of  attack  that 
he  departed  so  far  from  his  Greek  original,  as  to  weave  into 
the  general  plot  of  his  drama  such  scenes  from  other  Greek 
comedies  as  particularly  struck  his  fancy.  This  was  done  in 
the  case  of  the  Andria,  the  Adelphoe,  and  the  Eunuchus;  per- 
haps also  in  the  Hecyra  (Rh.  Mus.  XXI.  80  f.).  This  process 
of  combining  parts  of  different  plays  into  one  was  maliciously 
called  contaminatio.  Except  in  this  one  respect,  Terence  has 
followed  his  Greek  originals  very  closely,  and  the  Roman  allu- 
sions, which  are  so  common  in  Plautus,  are  almost  entirely 
wanting  in  Terence.  The  taunts  of  his  enemies  regarding  his 
habit  of  combining  parts  of  two  plays  into  one  had  no  effect 
upon  him,  except  that  he  was  led  repeatedly  to  justify  the 
practice  in  the  prologues  of  his  plays  (cf.  Andr.  Prol.  13-21, 
Heaut.  Prol.  16-21,  Ad.  Prol.  1-14,  Eun.  Prol.  31-33). 

There  was  still  another  point  with  reference  to  the  subject- 
matter  of  a  play  which  the  critics  of  that  time  considered 
important,  viz.  that  plays  must  be  entirely  new,  i.e.  the  Greek 
original  was  to  be  one  that  had  not  been  reproduced,  either  as 
a  whole,  or  in  part,  by  any  other  Latin  poet,  and  so  <  one  that 
was  entirely  unknown  to  the  spectators.1  This  requirement 


1  This  principle  is  stated  in  a  humorous  connection  in  Plant.  Pseud. 
568  if. :  nam  qui  in  scaenam  prouenit,  Nouo  modo  nouom  aliquid 
inuentum  adferre  addecet.  Si  id  facere  nequeat,  det  locum  UK  qui 
queat. 


INTRODUCTION.  XX111 

of  respect  for  the  product  of  another's  genius  is  noteworthy 
as  showing  that  a  play,  of  which  a  translation,  or  an  adapta- 
tion, had  been  made  by  a  Latin  poet,  was  thenceforth  looked 
upon  as  his  own  property.  Terence  as  a  rule  respected  this 
principle.  In  several  cases,  where  his  enemies  accuse  him  of 
theft  (furtum),  he  proves  his  production  to  be  entirely  "new" 
(cf.  Ad.  Prol.  6-14),  or  excuses  himself  on  the  plea  of  ignorance 
of  any  previous  use  of  it.  But  it  may  be  doubted,  from  his 
words  in  Eun.  Prol.  27  (Si  id  est  peccatum,  etc.)  and  35  ff., 
whether  he  looked  upon  the  use  of  a  Greek  drama,  or  a  part 
of  one,  by  several  Latin  poets,  as  a  very  serious  offense. 

All  six  plays  of  Terence  met  with  great  applause  from  the 
public,  though  the  Hecyra  was  not  received  with  favor  until 
the  third  attempt  to  present  it.  The  greater  attraction,  formed 
by  other  amusements  at  the  time  of  the  first  and  second 
attempts  to  present  this  piece,  made  it  impossible  to  act  any 
of  it  the  first  time,  and  only  one  act  of  it  at  the  second  attempt 
(cf.  Phor.  Prol.  31  ff . ;  Hec.  Prol.  I.  and  II.).  The  Eunuchus, 
on  the  other  hand,  met  with  such  success  that  its  production 
was  repeated  (probably  on  the  same  day),  and  the  poet  received 
therefor  the  unusually  large  sum  of  eight  thousand  sesterces 
(about  three  hundred  and  thirty  dollars). 

After  the  third  production  of  the  Hecyra,  in  160  B.C.,  Terence 
left  Rome  for  Greece,  probably  to  acquire  a  more  intimate 
knowledge  of  the  life  and  customs  of  the  people  of  that  coun- 
try. In  the  following  year,  159  B.C.,  the  poet  died,  while  on 
the  point  of  returning  to  Rome  with  translations  which  he  had 
recently  made  of  other  comedies.  He  met  his  death  either  by 
shipwreck  off  the  island  of  Leucas,  or  else,  after  losing  his  bag- 
gage and  his  manuscripts  by  such  a  mishap,  died  at  Stymphalus 
in  Arcadia.  He  left  a  daughter,  who  was  afterward  married  to 
a  Roman  knight.  His  property  at  the  time  of  his  death  probably 
consisted  of  twenty  acres  of  land,  though  another  account  rep- 
resents him  as  having  been  reduced  to  absolute  poverty. 

Regarding  the  personal  appearance  of  Terence,  Suetonius 
says  :  Fuisse  dicitur  mediocri  statura,  gracili  corpore,  colore  fusco. 


XXIV  -         INTRODUCTION. 

As  a  poet  Terence  is  especially  noted  for  the  artistic  finish 
and  refinement  of  his  productions.  The  plots  of  his  plays  are 
carefully  thought  out  and  cleverly  managed,  the  poet  at  times 
departing  from  his  Greek  original,  where  he  can  by  so  doing 
better  serve  his  artistic  purpose.  No  less  carefully  studied  is 
his  portrayal  of  character  and  of  the  motives  which  prompt  to 
action  the  persons  with  whom  he  is  dealing.  To  be  sure,  for 
all  that  is  essential  and  best  he  was  indebted  to  his  Greek 
originals,  but  he  deserves  homage  for  having  successfully  re- 
produced these  merits  in  his  own  plays.  Indeed,  in  some  of  the 
details,  he  has  even  ventured  to  make  improvements  upon  his 
originals.1  As  to  the  language  of  Terence,  it  is  at  all  times  se- 
lect and  pure  and  may  pass  as  the  best  example  we  have  of  the 
colloquial  language  as  used  by  the  more  refined  circles  of  Ro- 
man society.  Cicero  and  Caesar,  who  must  surely  be  looked 
upon  as  competent  judges,  accord  him  in  this  respect  the  highest 
praise.  But  the  excellences  above  mentioned  are  such  as  de- 
pend chiefly  upon  thought  and  study  and  painstaking.  On  the 
other  hand  one  cannot  fail  to  notice  in  Terence,  as  compared 
with  Plautus,  a  certain  lack  of  vigor,  of  sparkling,  spontaneous 
wit,  of  liveliness,  of  variety  in  his  characters,  and  of  power  in 
depicting  passion.  Upon  the  absence  of  these  characteristics, 
the  enemies  of  Terence  based  their  accusation  that  his  plays 
were  "tenui  orations,  et  scriptura  leui"  (Phorm.  Prol.  5) ;  and  even 
Caesar  complains  that  the  "  lenia  scripta  "  of  Terence  lack  "  uis 
comica."  It  was  probably  for  this  reason,  too,  that  Volcacius 
Sedigitus  (about  the  end  of  the  second  century  B.C.,  author  of 
a  treatise  de  poetis),  in  naming  the  ten  most  noted  writers  of 
fabulae  palliatae-  in  the  order  of  their  merit,  assigned  Terence  to 
the  sixth  place. 

It  is  further  to  be  noticed,  that  no  development  in  the  genius 
of  the  poet  can  be  discovered  in  the  course  of  his  productions. 
This  is,  without  doubt,  due  for  the  most  part  to  the  repression 


1  Cf .  e.g.  Dziatzko's  remarks  on  the  marriage  of  Mieio  in  his  edition 
of  the  Adelphoe,  p.  4. 


INTRODUCTION.  XXV 

of  the  individuality  of  writers  of  palliatae  in  general,  and  espe- 
cially at  the  time  of  Terence,  but  it  is  due  in  part  also  to  the 
shortness  of  the  period  through  which  his  entire  literary 
activity  lasted.  At  any  rate,  it  is  quite  impossible  for  us  to 
designate  any  one  of  his  six  plays  as  the  immature  work  of  his 
youth. 


History  of  the  Text. 

After  the  death  of  Terence,  the  writing  of  fabulae  palliatae 
almost  ceased.1  In  the  absence  of  new  productions,  the  custom 
now  began  of  presenting  again  upon  the  stage  the  plays  of 
former  poets.  It  was  but  natural  that  many  changes  should 
be  made  in  these  old  plays  to  make  them  better  suited  to  the 
altered  conditions  under  which  they  were  to  be  reproduced, 
though  Terence  has  suffered  but  little  in  this  respect  as  com- 
pared with  Plautus.2  The  plays  of  Terence,  during  the  first 
decades  following  the  middle  of  the  second  century  B.C.,  were 
repeatedly  brought  upon  the  stage.  To  this  fact  the  didascaliae 
bear  undisputed  testimony  (Rh.  Mus.  XX.  591 ;  XXI.  64  ff.). 


1  In  the  prologue  to  the  Casina  of  Plautus,  which  was  written  about 
154  B.C.,  or  soon  thereafter,  we  find  the  following  (vs.  9  f .) : 

Nam  nunc  nouae  quae  prodeunt  comoediae, 
Multo  sunt  nequiores  quam  nummi  noui. 

Turpilius,  the  last  important  writer  of  palliatae,  lived,  to  he  sure,  till 
103  B.C.,  but  he  probably  ceased  writing  at  an  early  date  (Ritschl,  Par- 
erga,  p.  188,  Rem.).  Men  like  Fundanius  (Hor.  Sat.  I.  10,  40  ff.),  Ver- 
gilius  Roman  us  (Plin.  Epist.  VI.  21),  and  M.  Pomponius  Bassulus  (of 
the  end  of  the  first  century  A.D.)  translated  Greek  comedies,  but  these 
productions  were  intended  only  for  reading. 

2  There  can  be  no  doubt  that  the  comedies  of  Plautus  are  preserved 
to  us  in  the  form  which  they  received  to  fit'  them  for  reproduction  long 
after  the  time  of  Plautus.    With  Terence  the  case  is  different.    The 
fact  that  the  prologues  to  his  plays,  though  appropriate  only  for  the 
particular  occasion  for  which  they  were  written,  have  come  down  to 
us  unchanged,  is  a  clear  proof  that,  at  the  time  when  the  comedies  of 


XXVI  INTRODUCTION. 

As  early  as  the  second  half  of  the  second  century  B.C.,  schol 
ars  began,  in  imitation  and  emulation  of  the  Greek  grammari- 
ans, to  turn  their  attention  to  the  study  offabulae  palliatae.  The 
texts  of  the  comedians  were  brought  together  in  suitable  form 
for  reading,  special  care  being  taken  to  preserve,  as  far  as  pos- 
sible, different  readings  wherever  such  existed.  Xotes,  too,  on 
the  history  of  the  different  plays  were  collected  and  arranged 
in  a  connected  manner.  Lastly,  Roman  scholars  wrote  various 
treatises  on  the  scenic  and  linguistic  peculiarities  of  the  old 
comedians  and  on  other  topics  of  interest  to  the  student  of 
literature.  Among  these  were  L.  Accius  (the  famous  writer  of 
tragedy),  Porcius  Licinus,  Volcacius  Sedigitus,  L.  Aelius 
Stilo,  Aurelius  Opilius,  Q.  Cosconius,  Serv.  Clodius,  and 
above  all  M.  Terentius  Varro,  whose  works,  distinguished  as 
they  were  for  their  learning  and  practical  wisdom,  formed  the 
chief  source  of  information  for  the  historians  of  literature. 
The  material  for  these  works  was  drawn  from  the  actors'  copies 
of  the  plays,  so  far  as  they  could  be  procured,  and  from  the  rec- 
ords of  magistrates  regarding  the  productions  of  plays  brought 
out  under  their  supervision.  Consideration  for  the  convenience 
of  the  reader  led  to  the  practice  of  indicating  at  the  beginning 
of  each  scene  the  characters  who  take  part  in  that  scene,  and  of 
dividing  plays  into  acts  (see  pp.  xxxii  f .).  Plays  still  continued 
to  be  presented  on  the  stage,  but  they  were  -more  successful  in 
the  provincial  towns  than  at  Rome,  where  the  givers  of  games, 
pandering  to  the  altered  tastes  of  the  crowd,  gave  them  scenic 
representations  of  a  more  stirring  character. 

The  plays  of  Terence,  who  always  continued  to  be  extensively 
read  in  antiquity,  at  length  became  corrupt  through  glosses,  in- 
terpolations, and  errors  in  copying.  As  a  perfect  understanding 
of  the  text  in  all  its  details  was  impossible  without  aids,  full  corn- 


Terence  began  to  be  extensively  copied,  people  had  the  will  aiid  the 
means  to  transmit  them  to  posterity  in  their  original  form.  Of  the 
prologues  of  Plautus,  on  the  contrary,  not  one  that  was  written  for  any 
production  of  the  play  shows  a  form  that  was  suitable  only  for  the 
first  production. 


INTRODUCTION.  XXV11 

mentaries  became  very  common  early  in  imperial  times,  and 
these  of  course  offered  a  good  basis  for  revisions.  Such  com- 
mentaries were  prepared  by  Probus  (probably  M.  Valerius 
Probus,  about  the  middle  of  the  first  century  A.D.),  Aemilius 
Asper,  Arruntius  Celsus  (perhaps  only  to  the'  Phormio), 
Helenius  Aero,  Euanthius,  and  the  somewhat  later  Aelius 
Donatus  (about  the  middle  of  the  fourth  century  A.D.).  We 
have  a  commentary,  bearing  the  name  of  the  last-mentioned 
scholar,  to  five  of  the  plays  (that  to  the  Heaut.  being  lost). 
This  is  a  confused  compilation  of  extracts  from  different 
commentaries  (at  least  two),  which  themselves  contained 
valuable  explanatory  comments  from  older  works  of  a  similar 
nature. 

In  the  first  half  of  the  second  century  A.D.,  a  period  charac- 
terized by  great  zeal  in  the  study  of  the  older  Latin  literature, 
metrical  arguments  to  the  plays  of  Terence  (periochae),  of 
twelve  verses  each,  were  composed  by  C.  Sulpicius  Appolli- 
naris,  a  native  of  Carthage,  the  teacher  of  A.  Gellius  and  of  the 
emperor  Pertinax.  In  the  Mss.  these  arguments  are  prefixed 
to  the  text  of  the  respective  plays. 

In  the  course  of  time,  the  text  of  the  comedies  of  Terence 
had  become  so  corrupt  that  the  necessity  was  felt  of  a  thorough 
and  comprehensive  revision  of  the  text,  and  such  a  revision 
was  undertaken  by  a  certain  Calliopius.1  The  name  of  this 
man  is  appended  to  all  the  known  Mss.  of  Terence,  with 
the  single  exception  of  the  Bembinus.  It  will  readily  be  seen 
that  this  circumstance  renders  the  Bembinus  of  special  im- 


1  See  Umpfenbach's  critical  apparatus.  —  Nothing  certain  is  known 
regarding  the  character,  or  the  time,  of  Calliopius.  According  to 
Konr.  Braun,  Quaest.  Ter.  (Gottingen,  1877),  p.  21,  the  Calliopian  recen- 
sion dates  from  the  end  of  the  third,  or  the  beginning  of  the  fourth, 
century  ;  according  to  Fr.  Leo  (Rh.  Mus.  XXXVIII.  p.  331),  from  the 
third  century,  while  some  scholars  differ  from  these  views  so  far  that 
they  assign  it  to  the  seventh  century.  Dziatzko  (Commentationes 
Wolffliniae,  Leip.  1891)  and  Schlee  (Scholia  Terentiana,  Leip.  1893j  rep- 
resent the  latest  views  in  assigning  it  to  the  fifth  century. 


XXVU1  INTRODUCTION. 

portance  as  preserving  the  older  and  frequently  the  better  read- 
ing.    See  Introd.  to  App. 


Dramatic  Entertainments,  the  Actors,  the  Stage,  etc. 

It  should  be  noted  that,  for  some  time  after  Livius  Andro- 
nicus,  dramatic  performances  in  Rome  were  given  only  at  the 
ludi  Romani  or  maximi  (in  September)  under  the  supervision  of 
the  curule  aediles.  Somewhat  later  they  formed  a  part  likewise 
of  the  Megalesia  (in  April),  given  under  the  direction  of  the 
curule  aediles,  of  the  ludi  plebei  (in  November),  given  by  the 
plebeian  aediles,  and,  after  211  or  212  B.C.,  of  the  ludi  Apollinares 
(in  July),  given  by  the  praetor  urbanus.  To  the  officials  who 
conducted  the  games,  a  specified  sum  of  money  was  furnished 
by  the  state,  for  the  purpose  of  defraying  the  expense  attending 
the  occasion.  In  the  course  of  time,  as  the  games  took  on  a 
more  elaborate  character,  the  sum  donated  by  the  state  had  to 
be  increased  repeatedly,  and  even  then  those  who  had  them  in 
charge  frequently  had  to  make  liberal  contributions  from  their 
own  private  means.  Besides  the  games  that  were  thus  cele- 
brated on  behalf  of  the  state,  there  were  also  others  given  on 
extraordinary  occasions,  viz.  at  ludi  funebres  (or  funerales),  in 
honor  of  celebrated  men,  those  accompanying  dedications  and 
triumphs,  and  those  given  as  votive  offerings. 

Down  to  174  B.C.  these  dramatic  performances  took  place 
near  the  temple  of  the  deity  chiefly  concerned  in  the  festivi- 
ties.1 Permanent  theatres  of  stone,  such  as  were  later 
built  on  a  scale  of  great  grandeur,  were  as  yet  unknown. 
When  a  play  was  to  be  produced,  a  wooden  stage  was  erected 
for  the  purpose  and  then  torn  down  after  the  performance. 
This  stage  was  ordinarily  built  near  the  foot  of  some  hill,  or 
slope,  so  that  the  rising  ground  might  afford  convenient  seats 


i  Funeral  games  (perhaps  also  the  ludi  Romani)  took  place  in  the 
forum.  That  the  ludi  Apollinares  at  least,  in  the  beginning,  were  given 
in  the  Circus  Maximus,  is  clear  from  Liv.  25,  12,  14. 


INTRODUCTION.  XXIX 

for  the  spectators,  while  those  in  front  would  not  obstruct  the 
view  of  those  in  the  rear.  On  such  a  slope  the  people  as- 
sembled under  the  open  sky.  As  no  seats  were  provided  for 
their  accommodation,  they  usually  sat,  or  reclined,  upon  the 
ground.  The  more  fastidious  sometimes  had  stools  brought 
for  them  from  their  homes,  although  this  was  looked  upon 
as  a  mark  of  effeminacy  and  was  even  forbidden.  In  179  B.C., 
a  stage  of  stone  was  erected  near  the  temple  of  Apollo,  but 
this  was  of  small  dimensions  and  was  probably  intended  for 
use  only  at  the  ludi  Apollinares.  Five  years  later,  arrangements 
were  made,  on  the  part  of  the  state,  for  the  building  of  a  sub- 
stantial, immovable  stage,1  but  this,  if  it  was  actually  built, 
seems  soon  to  have  disappeared.  In  146  B.C.,  L.  Mummius  built 
a  complete  theatre,  provided  with  rows  of  seats,  but  this  was  of 
wood,  and  was  torn  down  after  each  performance.  Finally,  in 
55  B.C.,  was  dedicated  the  stone  theatre  of  Cn.  Pompeius,  the 
first  permanent  theatre  erected  in  Rome.  It  was  capable  of 
accommodating  forty  thousand  spectators. 

The  dramatic  performances  usually  took  place  between  pran- 
dium  (about  twelve  o'clock)  and  cena  (after  three  o'clock),  so 
that  when  we  consider  the  other  amusements  that  formed  a 
part  of  the  day's  exercises,  it  seems  hardly  possible  that  more 
than  one  play  could,  as  a  rule,  have  been  presented  on  any  one 
day.  Later,  in  Cicero's  time,  the  custom  of  giving  these  per- 
formances in  the  early  morning  was  introduced. 

When  the  ludi  scaenici  were  to  be  given,  the  fact  was  an- 
nounced by  a  crier  (praeco),  that  the  people  might  assemble  at 
the  proper  place.  Immediately  before  the  performance  began, 
there  was  a  tituli  pronuntiatio,  an  announcement  of  the  subject 
of  the  play;  but  sometimes  the  prologue  itself  conveyed  to  the 
audience  their  first  information  regarding  the  subject  of  the 
play  and  the  name  of  the  poet.  The  actors  were  slaves,  or,  in 
later  times,  freedmen,  this  profession  being  considered  beneath 
the  dignity  of  free-born  men.  The  dominus,  or  general  man- 


l  Kitschl,  Parerg.  p.  227. 


XXX  INTRODUCTION. 

ager  of  the  troupe  was  a  freedman  who  also  took  part  in  the 
acting  and  was  sometimes  called  the  actor  (i.e.  par  excellence). 
At  first,  poets  were  wont  to  bring  out  their  plays  themselves, 
hiring  slaves  and  freedmen  for  the  purpose,  but  this  practice 
ceased  at  an  early  date,  and,  as  early  as  Plautus,  the  poet  him- 
self was  no  longer  actor  also.  The  Stichus  of  Plautus,  for  in- 
stance, according  to  the  didascalia,  was  brought  out  by  T. 
Publilius  Pellio,1  who  is  severely  criticised  by  the  poet  himself 
(Bacch.  214  f.)  for  the  manner  in  which  he  put  the  Epidicus 
on  the  stage. 

To  these  theatrical  managers  application  was  made  by  those 
who  wished  to  give  dramatic  entertainments.  The  poets  had 
business  relations,  for  the  most  part,  only  with  the  actores,  who 
bought,  or  rejected,  their  plays,  and  these  actores  accordingly 
were  very  influential  in  determining  the  fate  and  encouraging 
the  development  of  poetic  talent.  In  exceptional  cases,  how- 
ever, the  givers  of  the  games,  as  they  were  men  of  experience 
in  such  matters  and  naturally  felt  great  interest  in  the  success 
of  the  performances,  had  a  voice  in  the  selection  of  the  plays  to 
be  presented.  All  financial  risk  attending  the  presentation  of  a 
play  had  to  be  borne  by  the  theatrical  manager  (the  dominus). 
As  it  was  of  great  importance  to  the  givers  of  the  games,  that 
the  people  should  be  pleased  with  the  amusements  provided  for 
them  at  such  great  expense,  a  reward  was  offei-ed  to  the  dominus, 
varying  in  amount  according  to  the  success  of  the  play  given  by 
him.2  This  of  course  was  calculated  to  secure  the  choice  of  the 
best  possible  play  and  to  assure  its  presentation  in  the  best  pos- 
sible manner.  The  dominus  on  his  part  was  accustomed,  after 
a  successful  performance,  to  reward  the  deserving  actors  of  his 
company  with  a  banquet.  Cf .  Plaut.  Cist.,  end  ;  Rud.  1418  ff. 

As  regards  the  external  equipment  necessary  for  the  dra- 


1  On  the  name,   see  Studemund  in   Comment,  in    hon.    Momms. 
p.  800  f . 

2  The  assertion  of  Mommsen,  Bom.  Gesch.  I.8  p.  889,  that  the  poets 
received  their  reward  only  when  the  play  did  not  prove  a  failure,  has 
not  been  substantiated. 


INTRODUCTION.  XXXI 

matic  performances,  this  was  provided  by  contractors  (conduc- 
tores  in  Plaut.  Asin.  Prol.  3),  under  the  supervision  of  the 
party  who  gave  the  games.1 

Among  the  Greeks,  the  number  of  actors  allowed  upon  the 
stage  at  any  one  time  was  limited.  This  was  not  the  case 
among  the  Romans,  as  there  could  be  any  number  of  actors 
which  convenience  might  dictate.  The  dominus  gregls  did  not, 
of  course,  care  to  increase  the  number  unnecessarily,  on  account 
of  the  additional  expense,  preferring  rather  to  produce  a  play 
with  a  few  superior  actors  than  with  a  larger  number  of  in- 
different ones.  The  Latin  fabula  palliata  resembled  the  later 
period  of  the  new  Greek  comedy  in  having  no  chorus.  In  ex- 
ceptional cases,  there  seems  to  have  been  something  similar  to 
it,  probably  in  imitation  of  the  Greek  original,  e.g.  the  chorus 
of  fishermen  in  Plaut.  Rud.  (vs.  290  ff.)  ;  but  this  was  placed, 
not  in  the  orchestra,  but  upon  the  stage.  There  is  nothing  of 
the  kind,  however,  in  Terence. 

Female  characters  were,  until  comparatively  late  times  (cf. 
Donatus  on  And.  IV.  3,  1),  impersonated  by  male  actors  in 
female  dress.  An  exception  to  this  rule  must,  however,  be 
made  in  the  case  of  the  mimes  (mimi),  in  which  the  female 
parts  were  really  taken  by  women.  It  is  needless  to  say  that 
these  women,  like  all  the  other  actors  in  mimes,  were  in  very 
bad  repute. 

The  custom  of  using  masks  seems  to  have  been  introduced 
soon  after  Terence  by  the  theatrical  managers,  Cincius  Faliscus 
and  Minucius  Prothymus.  Up  to  that  time  actors  depended 
for  their  effects  upon  wigs  and  rouge. 

The  plot  in  the  fabula  palliata  is  invariably  laid  in  a  Greek 
town  or  colony,  usually  in  Athens.  When  the  action  was 
supposed  to  be  taking  place  in  a  town,  the  proscenium  repre- 


1  The  costumes  of  the  actors  were  provided  by  the  choragus,  whom 
Mommsen  (Rom.  Gesch.  I.  p.  886)  regards  as  identical  with  the  domi- 
nus gregis.  See,  however,  Dziatzko,  Inaug.-diss.  Thes.  VI.,  and 
Friedlander,  p.  525. 


XXX11  INTRODUCTION. 

sen  ted  an  open  street  in  that  town.  The  background  was 
ordinarily  formed  by  three  private  houses,  corresponding  to 
the  three  entrances  to  the  royal  palace  as  represented  on  the 
stage  in  Greek  tragedy ;  in  place  of  one  of  these  was  sometimes 
the  front  of  a  temple,  when  the  character  of  the  play  made 
such  a  building  necessary.  Narrow  alleys  also  opened  from 
the  back  of  the  stage  into  the  street  (cf.  Phorm.  891  f.).  Upon 
the  stage  stood,  according  to  Donatus,  two  altars  —  one  on  the 
right,  dedicated  to  Liber,  another  on  the  left,  dedicated  to  the 
deity  chiefly  concerned  in  the  festivities  of  which  the  production 
of  the  play  formed  a  part.  On  this  point,  however,  there  are 
differences  of  opinion.1  On  the  right  (from  the  point  of  view 
of  the  spectatoi's)  the  street  was  supposed  to  lead  to  the  forum 
and  the  interior  of  the  town;  on  the  left,  to  the  harbor  and 
foreign  countries. 

Division  of  Plays  into  Acts  and  Scenes. 

A  division  of  dramas  into  acts  was  already  known  in  the 
time  of  Plautus  and  Terence,  but  it  does  not  as  a  rule  seem  to 
have  been  clearly  marked  by  the  writers  themselves.  It  was 
left  rather  to  the  discretion  of  the  theatrical  manager  to  intro- 
duce intermissions  at  suitable  places  in  the  play.  This  is  per- 
haps the  reason  why  the  manuscripts,  at  least  all  the  oldest  of 
them,  have  no  divisions  into  acts.  Definite  divisions  were,  how- 
ever, established  by  the  grammarians  and  the  commentators  of 
antiquity  (though  these  sometimes  differ  among  themselves), 
and  five  was  settled  upon  as  the  proper  number  of  acts  for  a 
drama  (cf.  Horace,  A.  P.  189  f.). 

The  division  into  scenes,  on  the  other  hand,  is  very  old.  It 
was  customary  to  place  before  each  scene  a  complete  list  of  all 
the  characters  to  appear  in  that  particular  scene.  In  the  copies 
which  formed  the  basis  of  our  manuscripts,  each  character  who 
had  anything  to  say  was  denoted  by  a  letter  of  the  Greek  alpha- 


1  See  Dziatzko's  note,  Einleitung,  p.  25. 


INTRODUCTION.  XXX111 

bet,  which  letter  served  also  in  the  text  to  designate  that 
character.  For  the  division  into  scenes,  two  principles  seem  to 
have  been  followed  in  our  manuscripts.  According  to  one  of 
these,  a  new  scene  is  formed  by  the  exit  or  the  entrance  of  a 
single  actor,  this  being  the  principle  followed,  for  the  most 
part,  in  the  Bembinus.1  Exceptions  to  this  rule  are  formed  by 
cases  in  which  a  person  leaves  the  stage  only  for  a  moment 
^cf.  Phorni.  446),  or  in  which  the  persons  who  remain  behind 
have  little  to  say,  and  that  of  no  importance,  until  the  entrance 
of  another  actor,  or  other  actors,  and  the  opening  of  a  new 
scene  (e.g.  Phorm.  219, 778,  816).  According  to  the  other  prin- 
ciple, a  new  scene  is  indicated  only  where  the  change  of  actors 
introduces  an  important  turn  in  the  plot.  The  manuscripts 
which  follow  this  principle  accordingly  indicate  no  new  scene 
at  Phorm.  795,  884.  The  first  of  these  two  principles  is  followed 
in  the  present  edition. 

The   Metres  of  Terence. 

The  metres  found  in  Terence  are,  with  rare  exceptions,  either 
iambic  or  trochaic.  A  peculiarity  of  an  iambic  or  a  trochaic 
verse  is  that  it  is,  at  least  in  Greek  poetry,  measured  by  dipo- 
dies,  i.e.  pairs  of  feet,  instead  of  by  single  feet,  each  dipody 
having  one  main  and  one  subordinate  ictus.  Accordingly,  a 
verse  of  four  feet  is  called  a  dimeter  (instead  of  a  tetrameter), 
one  of  six  feet  a  trimeter  (instead  of  a  hexameter),  etc.  Fre- 
quently, however,  and  especially  with  reference  to  early  Latin 
poetry,  these  verses  are  called  quaternarii,  senarii,  etc.,  names 
given  them  solely  with  reference  to  the  number  of  feet  con- 
tained in  each,  the  distinctions  between  the  odd  and  the  even 
feet  having  been,  for  the  most  part,  lost  sight  of  by  early  Latin 
poets.  We  may  divide  the  verses  of  Terence  into  the  follow- 
ing varieties : 


1  An  exception  is  found,  for  example,  in  Phorm.  441,  where  it  indi- 
cates no  new  scene. 


XXXIV  INTRODUCTION. 

Iambic : 

In  all  iambic  verses,  any  one  of  the  following  feet  is  allowed 
as  a  substitute  for  the  pure  iambus,  w  _£. :  (a)  anapaest,  -^^  /_ ; 
(b)  spondee,  >  /_ ;  (c)  tribrach,  w  w  w  ;  (d)  dactyl,  >  6  w  ; 
(e)  proceleusmatic,  ^^  6  w  It  should  be  noticed,  however, 
that  the  last  foot  of  an  acatalectic  verse  is  invariably  a  pure 
iambus  (with  the  privilege,  of  course,  of  the  syllaba  anceps),  and 
that  a  proceleusmatic  is  never  used  by  Terence  in  the  fifth  foot.1 

1.  Iambic  Senarius  (Trimeter  Acatalectic).  —  This  verse, 
patterned  after  the  Greek  trimeter,  constitutes  fully  half  of 
each  play  of  Terence. 

The  caesuras  may  be  classified  as  follows,  in  the  order  of 
their  frequency:  (a)  the  so-called  penthemimeral,  after  the 

arsis  of  the  third  foot,  e.g.  w w w  II w w w  i=i  ; 

(b)  the  hepthe  numeral,  after  the  arsis  of  the  fourth  foot, 

e.g.  w w w w  II  _  w w^:,  in  which  case  there  is 

often  diaeresis  after,  or  a  secondary  caesura  in,  the  second 
foot.  Not  many  verses  are  without  one  of  these  caesuras. 

In  connection  with  this  verse,  the  following  peculiarities 
call  for  notice :  (1)  An  anapaest  is  not  allowed  immediately 
after  a  dactyl ;  (2)  When  a  proceleusmatic  is  used,  its  ictus- 
syllable  nearly  always  begins  a  word,  and  the  ictus  and  word- 
accent,  with  rare  exceptions,  coincide.  The  proceleusmatic  is 
most  common  at  the  beginning  of  a  verse. 

2.  Iambic  Octonarius  (Tetrameter  Acatalectic).  —  The 
caesura  of  this  verse  falls  into  two  classes :  (a)  It  may  be  after 

the  fifth  arsis,  i.e.  w \^/ ^> w w  II w w w ;  (6)  it 

may  be  at  the  end  of  the  fourth  foot,  e.g.  ^ w w ^/  w  || 

^ v> ^ wi^,  in  which  case  the  fourth  foot  is  treated  like 

the  final  foot  of  the  verse,  i.e.  it  must  be  a  pure  iambus,  hiatus 
is  sometimes  allowed  after  it  (at  least  in  Plautus),  and  certain 
forms,  otherwise  used  in  iambic  metres  only  at  the  end  of  a 
verse  (e.g.  siet,  the  infinitive  in  -ier,  etc.),  are  also  used  here. 


1  Dziatzko  claims  that  it  is  allowed  in  the  fifth  foot ;  but  see  Ap- 
pendix on  vs.  598. 


INTRODUCTION.  XXXV 

3.  Iambic    Septenarius   (Tetrameter   Catalectic),  called 
septenarius  because  only  seven  feet  are  complete,  though  it  really 
contains  seven  and  a  half  feet.      The  caesura  is  (a)  usually  after 
the  fourth  foot,  which  then  presents  the  same  peculiarities  of 
treatment  as  in  the   octonarius  under   similar   conditions ;   (6) 
sometimes  after  the  arsis  of  the  fifth  foot. 

4.  Iambic  Quaternarius  (Dimeter  Acatalectic),  rare  in 
Terence,  occurring  only  three  times  in  the  Phormio  (vss.  163, 
183,  196).     This  verse  is  usually  employed  as  a  clausula  (see  p. 
xxxvi)  in  connection  with  octonarii  and  septenarii.     Here  the 
proceleusmatic  is  not  found  in  Terence. 

Trochaic : 

Any  one  of  the  substitutes  allowed  in  iambic  verses  for  the 
pure  iambus  may,  except  as  indicated  below,  also  stand  here  for 
the  pure  trochee,  Z.  w,  the  metrical  accent  being,  however,  in 
all  cases,  upon  the  first  syllable  of  the  foot.  The  proceleus- 
matic is  found  in  Plautus,  though  not  in  Terence,  as  a  substi- 
tute for  a  trochee. 

1.  Trochaic    Octonarius    (Tetrameter    Acatalectic). — 
This  verse  is  used  only  in  lyric  parts  of  the  plays,  in  connec- 
tion with  other  verses,  to  form  special  rhythmic  systems.     In 
Terence  trochaic  octonarii  are  always  followed  by  trochaic  sep- 
tenarii. 

The  caesura  is  (a)  usually  after  the  fourth  foot,  from  which 
foot- the  dactyl  is  then  excluded;  (6)  sometimes  in  the  fourth 
or  fifth  foot.  In  this  verse  a  tribrach,  a  spondee,  or  an  ana- 
paest is  allowed  even  in  the  eighth  foot. 

2.  Trochaic  Septenarius  (Tetrameter  Catalectic),  called 
septenarius   because   only  seven   feet   are   complete,  though  it 
really  contains  seven  and  a  half  feet.     This  verse  in  Terence 
is,  in  point  of  frequency,  next  to  the  iambic  senarius.      The 
caesura  may  be  (a)  after  the  fourth  trochee,  in  place  of  which 
a  dactyl  is  not  then  admissible,  or  (6)  after  the  fifth  arsis,  gen- 
erally with  a  minor  caesura  after  the  fourth  thesis  or  the  third 
arsis.    In  this  verse,  as  in  iambic  verse,  an  anapaest  is  not  used 


XXXVI  INTRODUCTION. 

immediately  after  a  dactyl.  The  seventh  foot  is  commonly  kept 
pure,  though  a  tribrach  or  a  dactyl  is  occasionally  found.  The 
last  syllable  of  the  verse  may,  as  usual,  be  either  long  or  short, 
3.  Trochaic  Ternarius  (Dimeter  Catalectic)  occurs  in 
the  Phormio  only  in  vss.  191  and  729. 

Besides  the  verses  above  referred  to,  Bacchic  and  Cretic  Te- 
trameters are  met  with  in  the  Andria  of  Terence. 

Among  the  longer  verses  in  lyric  parts,  and  at  the  end  of 
stichic  series  (And.  605,  Hec.  621,  731),  is  sometimes  thrown  in 
a  single,  shorter  verse  called  a  clausula.  A  clausula  always  has 
the  same  rhythm  as  the  preceding  verse  {e.g.  Phorm.  163, 183, 
191,  where  it  follows  iambic  quaternarii,  and  729,  where  it  fol- 
lows a  trochaic  quaternarius) .  Metrically,  clausulae  are  handled 
like  the  complete  verses  of  the  same  rhythm.  —  Single  words  of 
address,  or  of  exclamation,  occasionally  stand  at  the  beginning 
of  a  lyric  part  (Phorm.  485). 

It  will  be  seen  from  what  has  been  said  that  the  Roman 
dramatists  —  for  this  is  true  not  merely  of  the  fabula  palliata 
alone  —  could  avoid  monotony  in  their  plays  by  varying -the 
form  of  their  verse  to  correspond  at  each  point  with  the  char- 
acter of  the  scene. 

Adaptability  of  the  Various  Metres  to  Different  Moods. 

All  the  plays  of  Terence  open  with  iambic  senarii.  This  is 
the  verse  of  ordinary  narrative,  or  dialogue,  sometimes  also  of 
soliloquy,  and  seems  the  one  best  adapted  for  making  the  audi- 
ence acquainted  with  the  general  situation.  Its  movement  may 
be  illustrated  by  the  following  lines: 

The  tempest  nears  us  ;  darkly  rolls  the  angry  sea ; 

The  thunder  mutters ;  lightnings  leap  from  cloud  to  cloud." 

As  the  plot  develops,  the  metre  changes  to  suit  the  varying 
moods  of  tb.3  characters.  Iambic  octonarii  are  suited  to  an 
animated,  impassioned  mood.  Compare: 

"  And  furious  every  charger  neighed,  to  join  the  dreadful  revelry." 


INTRODUCTION.  XXXV11 

Trochaic  septenarii  are  suited  to  a  somewhat  more  quiet, 
peaceful  frame  of  mind.  Compare  : 

"  Tell  me  not  in  mournful  numbers,  life  is  but  an  empty  dream." 

Iambic  septenarii,  which  in  Latin  occur  only  in  comic  poets, 
are  found  chiefly  in  serio-comic  strains.  Compare : 

"  A  captain  bold  of  Halifax,  who  lived  in  country  quarters.*' 

Trochaic  octonarii  are  peculiar  to  those  parts  of  a  scene  that 
are  intended  to  be  sung.  The  movement  of  this  verse  may  be 
illustrated  by  the  following : 

"  Beams  of  noon,  like  burning  lances,  through  the  tree-tops  flash  and 
glisten." 

It  will  be  understood,  of  course,  that  most  of  these  metres  are 
sometimes  used  where  the  above-mentioned  characteristics  are 
not  prominent.  The  moods  indicated  are,  in  each  case,  to  be 
regarded  merely  as  those  most  frequently  associated  with  the 


Differences   in   the   Manner   of     Rendering   Various 
Rhythms  ;    Musical  Accompaniment,  etc. 

A  change  in  the  character  of  the  verse  was  often  accompanied 
also  by  a  corresponding  change  in  the  manner  of  presenting 
the  scene.  With  reference  to  the  differences  in  the  manner  of 
presentation,  the  various  parts  of  a  play  are  to  be  divided  into 
three  distinct  classes : 

(1)  those  composed  of  ordinary  narrative,  or  dialogue,  written 
in  iambic  senarii,  without  musical  accompaniment ; 

(2)  those  merely  recited  in  a  melodramatic  manner  to  the  ac- 
companiment of  the  flute,  written  in  trochaic  or  iambic  sep- 
tenarii and  in  iambic  octonarii ; 

(3)  those  of  a  purely  lyric  nature  sung  to  a  set  tune  with  flute 
accompaniment,  written   in    varying   metres   [including  those 


XXXV111  INTRODUCTION. 

under  (2)  ],  but  commonly  characterized  by  the  presence  of  tro- 
chaic octonarii.1 

In  the  text  editions  of  antiquity,  letters  were  added  to  the 
superscriptions  of  different  scenes  to  indicate  the  manner  in 
which  they  were  to  be  rendered,  and  these  marks  are  still  dis- 
tinguishable in  some  of  the  manuscripts  of  Plautus.  These 
show  that  the  last  two  kinds  of  scenes,  (2)  and  (3)  above,  as 
they  were  both  accompanied  by  music,  were  marked  with  the 
letter  C.,  i.e.  canticum,  song;  the  first  kind  (1),  with  the  letters 
DV.,  i.e.  diuerbium,  spoken  dialogue.  In  the  editions  of  Terence, 
as  may  be  seen  from  Donatus,  scenes  of  a  purely  lyric  character 
were  marked  M.M.C.  (perhaps  an  abbreviation  for  modi  mutati 
cantici) ;  those  merely  recited  with  musical  accompaniment, 
simply  C.  (though  this  rests  upon  the  opinion  of  Ritschl,  Do- 
natus giving  us  no  information  on  this  point)  ;  those  consisting 
of  ordinary  dialogue,  DV.* 

It  was  customary  to  have  music  also  before  the  beginning 
of  the  play  (before  the  prologue)  and  between  the  acts.  The 
music  for  the  plays  of  Plautus  and  Terence  seems  to  have  been 
composed  entirely  by  slaves,  —  that  for  all  the  plays  of  Terence 
by  Flaccus,  the  slave  of  Claudius.  The  music  was  given  by  a 
single  flute-player  (tibicen),  probably  by  the  composer  himself, 
with  a  double  flute,  or,  perhaps  we  might  say,  clarinet,  as  the 
instrument  bore  a  greater  resemblance  to  it  than  to  our  flute. 
It  was  played  by  blowing  into  both  tubes  at  the  same  time. 
From  the  didascaliae  we  learn  of  four  different  kinds  of  these 
instruments  : 

tibiae  pares  in  which  the  two  pipes  were  of  equal  length ; 

tibiae  impares  in  which  they  were  of  unequal  length ; 


1  Cf.  what  is  said  on  p.  xxxv  regarding  the  lyric  metres.    The  rules 
governing  the  change  of  verse  in  these  parts  have  not  yet  been  discov- 
ered.    K.  Meissner,  in  Fleckeisen's  Jahrhiicher    (1884),  attempts  to 
show  that  they  are  divided  into  strophes.     See  also  Schlee,  de  vers.  in 
cant.  Ter.  cons.  (Berlin,  1879). 

2  Indications  of  this  system  of  marking  are  preserved  in  the  Phormio 
before  Act.  II.,  Sc.  4 ;   see  Rh.  Mus.  XXIX.  54. 


INTRODUCTION.  XXXIX 

tibiae  serranae  of  which  but  little  is  known,  though  they  were 
probably  of  equal  length l ;  and 

duae  dextrae  tibiae  in  which  the  two  tubes  were  of  equal  length 
and  identical  in  key  and  note. 

Regarding  the  last-mentioned  tibiae,  we  are  told  by  Varro  that 
the  right  tube  was  foi  leading  (tibia  incentiua),  the  left  for  ac- 
companying (tibia  succentiua).  We  have  no  further  knowledge 
regarding  the  difference  between  the  various  kinds  of  these 
instruments  ;  but  we  may  be  certain  that  the  choice  of  instru- 
ment depended  upon  the  character  of  the  play.  In  the  case  of 
the  Heauton  timorumenos,  we  know  from  the  didascalia  that 
instruments  were  changed  in  the  course  of  the  play  itself. 

An  important  difference  between  the  practices  of  the  ancient 
and  of  the  modern  stage  may  be  inferred  from  Livy,  7,  2,  8  ff. 
It  is  here  recorded  that,  from  the  time  of  Livius  Andronicus 
throughout  the  whole  period  when  Roman  comedy  was  at  its 
height,  the  lyrical  parts  were  sung  by  a  person  especially  se- 
lected for  the  purpose  and  stationed  near  the  flute-player,  while 
the  actors  meanwhile  were  wont  merely  to  act  silently,  in  a 
manner  suitable  to  the  words  thus  sung. 

PROSODY. 

The  prosody  and  the  language  of  Terence  differ  far  less  from 
those  of  the  later,  classical  authors,  than  do  those  of  Plautus, 
though  there  were  only  a  few  years  between  the  two  writers. 
Peculiarities  of  this  nature  will  be  pointed  out  in  detail  in  the 
notes.  The  more  important  of  these,  however,  may  well  find  a 
place  in  this  introduction.2 


1  On  the  character  of  the  music  used  in  the  plays,  see,  Howard  on 
the  Ai)\6s,  or  Tibia,  in  the  Harvard  Studies  in  Classical  Philology,  IV. 
(1893). 

2  A  number  of  special  forms  and  certain  peculiarities  in  the  metri- 
cal treatment  of  some  forms,  are  found  only  at  the  close  of  verses, 
or  half  verses  with  an  iambic  ending :  the  full  forms  of  the  perfect  in 
-auer-,  euer-,  otter-,  iuer-;  the  subjunctive  siem,  etc.,   and  its  com- 


Xl  INTRODUCTION. 

1.   Vowels. 

The  final  syllables  of  words  in  archaic  Latin  present  a  long 
Jist  of  vowels  long  by  nature,  which  were  afterward  shortened. 
This  was  especially  the  case  in  Ennius  and  Plautus.  From  Ter- 
ence may  be  cited  stetlt  (Phorm.  9),  nugeat  (Ad.  25). 


2.  Consonants. 

In  the  earliest  Latin,  no  such  thing  was  known  as  the  doubling 
of  consonants  in  writing.  The  distinctness  with  which  certain 
syllables  were  pronounced  was  constantly  varying.  Ennius 
was  the  first  to  introduce  the  doubling  of  consonants  in  writ- 
ing 1  and  thus  to  put  an  end  to  the  wavering  and  uncertainty 
of  the  prosody  in  such  cases,  though  the  rules  he  established 
did  not,  nor  could  it  be  expected  that  they  would,  come  at  once 
into  general  favor.  Terence  is  already  under  the  influence  of 
Ennius  in  this  respect,  but  the  former  habits  sometimes  assert 
themselves  even  in  him,  e.g.  ille,  esse,  eccum  quippe,  immo,  etc. 

It  will  further  be  noticed  that,  in  early  Latin,  the  addition 
of  I,  or  r,  to  a  mute  does  not  ordinarily  make  a  long  syllable, 
e.g.  patrem.  In  the  pronunciation  of  every-day  life,  there 
was  a  tendency  (clearly  shown  in  the  inscriptions)  to  slur  over 
certain  consonants,  especially  when  these  were  at  the  end  of 
a  word.  The  same  tendency  is  seen  in  early  poetry,  certain 
final  consonants  being  sometimes  disregarded  to  suit  the  re- 
quirements of  prosody.  In  the  case  of  m  before  a  following 


pounds ;  the  present  passive  infinitive  in  -ier;  the  long  quantity  of  the 
first  syllable  in  fieri,  fier em,  etc. ;  dissyllabic  nihil;  short  vowels  in 
cases  like  emerunt  (Eun.  20)  ;  the  forms  duint,  perduint ;  usglect  of 
syncope  in  the  declension  of  dexter  and  sinister;  the  forms  face, 
coeperet  (Ad.  397),  creduas  (Phorm.  993),  attigas  (And.  789),  mauolo 
(Hec.  540),  compluria  (Phorm.  611). 

1  Hinnad  occurs  in  an  inscription  of  211  B.C.  (C,  I,  L.  1, 530),  but  this 
is  in  mere  imitation  of  the  Greek  "Evva.  See  Lindsay,  Latin  Language 
(1894),  p.  8. 


INTRODUCTION.  xli 

vowel  or  before  h,  this  practice  continued  to  be  general  even  in 
classical  times.  The  same  was  true,  for  a  long  time,  of  final  s 
after  a  short  vowel ;  it  could,  as  late  as  the  boyhood  of  Cicero, 
be  disregarded  before  consonants  in  the  arsis  (even  of  the  last 
foot),  or  in  the  unaccented  syllable  of  a  resolved  thesis,  e.g. 
ex  omnlbu(s')  rebus.  Nempe,  unde,  and  inde  sometimes  have  the 
value  of  only  two  morae  (instead  of  three,  as  one  might  expect), 
e.g.  Phorm.  307  and  681.  This  has  commonly  been  explained 
as  due  to  a  shortening  of  the  first  syllable,  nempe ;  but  Skutscli 
(Forsch.  zur  Lat.  Grammatik  u.  Metrik)  makes  it  seem  plausi- 
ble that  the  pronunciation  of  these  words  in  such  cases  was 
rather  nemp,  und,  Ind. 

3.   Influence  of  Verse-Accent  and  Word-Accent 

The  most  important  and  far-reaching  peculiarity  of  prosody 
to  be  noted  in  the  dramatic  poets  is  the  frequent  shorten- 
ing of  a  long  syllable  when  it  is  immediately  preceded  by 
a  short  syllable  and  immediately  preceded,  or  followed, 
by  the  verse-ictus.  The  influence  of  this  "  iambic  law  "  (so 

called  because  it  concerns  the  combination  w )  may,  then, 

change 

(1)  w /_  to  ^j  \j  Z-i   e.g.  Phorm.  113  enim  se'to  enim  sE; 

(2)  v <(;    to  w  ^  ^,  e.g.  Phorm.  739  conloquar  quts  lilc  15- 

guitur    to    conloquar   quis    Me 
loquitur; 

(3)  6 to  \j  \j     ,  e.g.  Phorm.  209  quid  hlc  conterimus  to 

quid  hie  conterimus ; 

It  is  important  to  note,  however,  that  in  such  cases  the  long 
syllable  may  be  shortened  only  when  the  short  syllable  im- 
mediately preceding  begins  a  word.  The  shortening,  furtner- 
more,  seems  to  take  place  only  in  the  following  cases : 

(1)  In  a  dissyllabic  iambic  word1; 


1  Here  the  word-accent  on  the  initial  syllable  aided  in  the  shortening 
of  the  final  syllable.  Compare  the  shortening  of  the  originally  long 
final  syllable  in  mihi,  tibi,  sibi,  ibi,  ubi,  nisi,  quasi,  ego,  modo,  etc. 


Xlii  INTRODUCTION. 

(2)  In  a  monosyllabic  word  (or  one  that  has  become  such 
by  elision)  preceded  by  a  short  monosyllable  (or  a  word  which 
has  become  such  by  elision)  ; 

(3)  In  the  first  syllable  of  a  word  of  two  or  more  syllables 
preceded  by  a  short  monosyllable  (or  a  word  that  has  become 
such  by  elision)  ; 

(4)  In  the  second  syllable  of  a  polysyllabic  word  beginning 
with  a  short  syllable. 

In  the  cases  under  (3)  and  (4),  the  rule  holds  only  for  syllables 
"  long  by  position,"  but  having  a  short  vowel. 

Another  effect  of  the  metrical  accent  is  frequently  seen  in 
cases  where  monosyllabic  words  ending  in  a  long  vowel,  or 
in  m,  instead  of  being  elided  before  a  following  vowel,  or  h, 
receive  the  ictus  and  are  treated  as  short  syllables  (e.g.  Phorm. 
27  qui  aget;  419  ne  agas;  808  (?)  qudm  ego). 


4.    Synizesis  and  Hiatus. 

Two  vowels  coming  together  within  a  word,  but  not  forming 
a  diphthong,  regularly  remain  separate  in  verse,  just  as  in 
ordinary  speech.  Such  vowels  ai'e,  however,  blended  together 
(synaloepha,  or  synizesis)  when  they  belong  to  originally 
distinct  words  (e.g.  Phorm.  4  antehac;  668  proinde),  unless  the 
final  vowel  of  the  first  word  is  long  and  has  the  ictus,  when,  in 
accordance  with  the  rule  just  given  above,  it  is  retained  in  a 
short  form  (e.g.  Phorm.  425  prohibebo).  Synizesis  may  occur 
also  in  words  like  ain  (  =  aisne),  aibam,  deus,  metis,  eum,  fulsse, 
cuius,  hums,  diutius,  duas,  nescw,  reicere,  dehortatus,  quoad,  duo, 
etc.  In  many  cases,  however,  it  is  impossible  to  decide  whether 
there  is  synizesis,  or  a  shortening  of  the  final  syllable  of  an 
iambic  word.  In  words  of  which  the  language  has  both  a  full 
and  a  contracted  form  (e.g.  nihil  and  nil,  prehendo  and  prendo 
etc.)  the  manuscripts  of  Terence  have,  almost  without  excep- 
tion, the  full  form,  even  where  the  metre  requires  the  short 
form. 


INTRODUCTION.  xliii 

Hiatus  is  allowed  within  a  verse  only  in  the  following  cases  : 
(1)  in  the  caesura  of  iambic  seplenarii  and  octonarii  (cf.  pp. 
xxxiv  and  xxxv) ;  (2)  after  interjections  (Phorm.  411,  754, 
803),  in  which  case  these  are  shortened,  if  they  are  long  by 
nature  and  come  in  the  arsis ;  (3)  when  there  is  a  change  of 
speakers,  in  which  case  there  is,  for  the  most  part,  a  caesura  (cf. 
Phorm.  146,  542,  963) ;  (4)  in  cases  like  qul  aget,  ne  agas,  qudm 
ego. 

LANGUAGE. 
1.   Vowels. 

The  vowels  of  the  Latin  language  undergo  certain  changes, 
in  the  course  of  their  development,  with  considerable  regularity. 
In  this  respect,  Terence  frequently  represents  an  earlier  stage 
than  the  writers  of  the  classical  period.  Thus,  after  u,  o  is  reg- 
ularly found,  where  another  u  was  later  used,  as  in  seruos,  tuos, 
antiquos,  relinquont,  metuont,  (  =  seruus,  tuus,  antiquus,  relinquunt, 
metuunt),  etc.  Such  words  were  in  fact  commonly  spelled  -uos, 
-quos,  -quont,  -uont  till  well  into  the  first  century  A.D.1  Again  u, 
as  well  as  e,  is  found  in  the  gerund  and  gerundive  of  the  third 
and  fourth  conjugations,  e.g.  faciundus  (faciendus) ;  u  for  later 
i,  in  lubet  and  in  superlatives,  especially  after  t  and  s ;  e.g.  optu- 
mus,  pessumus ;  ei,  for  later  I,  e.g.  deico  for  dlco,  although  this  ei 
has  been  generally  changed  in  our  Mss.  to  conform  to  the  later 
spelling.  Words  formed  with  the  suffix  -culum  appear  in  early 
Latin  chiefly  in  a  shorter  form ;  e.g.  periclum,  saeclum,  uinclum- 


2.    Consonants. 

Quo-  is  regularly  found  in  certain  words,  where  the  later  period 


1  Quint.  1, 7,  26  Nostri  praeceptores  seruum  ceruumque  V  et  O  litteria 
scripseront. 


xliv  INTRODUCTION. 

uses  CM-:  quoins,  quoi,  quom,  quor,  etc.  (  =  cuius,  cut,  etc.). 
The  forms  ynatus  and  gnata  (when  used  as  substantives),  per- 
haps  also  gnauiter  (Eun.  51),  still  retain  their  initial  g. 

Assimilation  of  consonants  does  not,  as  a  rule,  appear  in 
the  written  form.  This  is  particularly  the  case  with  in,  except, 
apparently,  in  the  very  common  words  imperium,  imperare,1  im- 
petrare.  Ad  is  assimilated  only  before  ce,  ci  (accedere,  accidere, 
but  adcurrere2), pe  (appellere,l>ut  adportare,  adprobare,  etc.)  and 
ti  (attinere,  attingere).  On  the  whole,  the  process  of  assimilation 
seems  to  have  gone  further  in  the  more  common  words  than  in 
those  less  frequently  used.  B  in  ab  and  ob  before  s  and  t  has 
very  commonly  in  the  Mss.  become  p. 

The  Mss.  show  great  wavering  between  d  and  t  at  the  end  of 
certain  pronouns  and  particles  (e.g.  id,  it,  illud,  illut,  aliud,  aliut, 
apud,  aput),  but  this  variation  in  spelling  was,  without  doubt, 
common  among  the  ancients  themselves.  In  this  edition  the 
usual  orthography  has  been  followed,  except  where  the  Mss.  are 
decisive  for  another.  See  note  on  vs.  159. 


3.    Peculiarities  of  Declension. 

(1)  Latinized  form  of   Greek  words ;  e.g.  satrapa,  lampada, 
Clinia  (first  declension),  Aescliinus,  etc. 

(2)  Genitive  usually  in  -i,  less  commonly  in  -uis  in  words  of 
the  fourth  declension,  e.g.  aduenti  (Phorm.  154),  anuis  (Heaut. 
287). 

(3)  Dative  regularly  in  -u  in  words  of  the  fourth  declension. 

(4)  Dative  (and  perhaps  the  genitive)  occasionally  in  e,  in 
words  of  the  fifth  declension. 

(5)  Genitive  occasionally  in  -I  in  those  pronouns  and  adjec- 
tives which  regularly  have  ius  in  that  case,  e.g.  nulli   consili 
(And.  608). 


1  In  And.  897  the  assonance   (inpone,  impera)  favors  the  spelling 
inpera. 

3  Accuaare  forms  aii  exception. 


INTRODUCTION.  xlv 

(6)  The  common  use  of  the  particle  -ce  in  the  genitive  singu- 
lar, and  in  the  genitive,  dative,  accusative,  and  ablative  plural 
of  the  pronoun  hie,  e.g.  hisce,  hasce.     Terence  commonly  uses 
these  forms  with  ce  only  before  vowels  and  h. 

Hisce  is  used  in  Eun.  269  as  the  masculine,  and  haec  regularly 
as  the  feminine,  form  of  the  nominative  plural. 

(7)  Ipsus  sometimes  for  ipse,  e.g.  Phorm.  178. 

4.   Peculiarities  of  Conjugation. 

(1)  Active  forms  of  verbs  that  were  later  used  only,  or 
chiefly,  as  deponent;  e.g.  luctare,  altercare,  conflictare   (=  con- 
tend with). 

(2)  The   frequent  use  of  -ibam,  -ibo  for  -iebam,  -iam  in  the 
singular  of  the  imperfect  and  future  of  verbs  of  the  fourth  con- 
jugation.    A  io  is  the  only  verb  in  Terence  which  shows  the 
shorter  form  also  in  the  plural,  e.g.    And.  534,  Phorm.  572. 

(3)  Syncopated  forms  (so-called *)  in  the  second  person  singu- 
lar indicative,  and  more  rarely  in  the  infinitive  of  the  perfect, 
when  s  or  x  precedes  the  -isti  or  -isse,  e.g.  sensti  for  sensisti,  dixti 
for  dixisti,  iusse  for  iussisse,  produxe  for  produxisse. 

(4)  The  regular  (probably  invariable)  use  of  -re  instead  of 
-m  in  the  second  person  singular  passive  of  the  tenses  formed 
from  the  infinitive  stem. 

(5)  The  ending  -ier,  as  well  as  -i,  in  the  present  passive 
infinitive,  but  only  at  the  end  of  a  verse,  or  a  half-verse  (before 
the  caesura)   which  closes  with   an   iambus.     See  p.   xxxix, 
note  2. 

(6)  The  use  of  stem,  etc.,  for  sim,  etc.,  but  only  at  the  end  of 
a  verse,  or  a  half -verse  (before  the  caesura).     See  p.  xxxix, 
note  2. 


1  Some  scholars,  e.g.  Brugmann,  followed  by  Stolz  (Lateinische  For- 
menlehre,  2ded.,  §  112),  rejecting  the  theory  that  these  forms  are  the 
result  of  syncopation,  regard  them  as -reminiscences  of  an  old  form. 
See,  however,  Lindsay,  Latin  Language,  p.  464. 


Xlvi  INTRODUCTION. 

(7)  The  disappearance  of  the  copula  es,  est,  as  an  indepen- 
dent syllable,  after  an  s  preceded  by  a  short  vowel.  Thus  con- 
scius  es  becomes  consciu's,  conscius  est  becomes  consciust.  Est  is 
often  blended  with  a  preceding  word  also  when  that  word  ends 
in  a  vowel,  or  in  m,  e.g.  ducendast  iudicandumst. 


THE  PHORMIO. 

The  Phormio  was  first  presented  on  the  stage  at  the  ludi 
Romani^  in  161  B.C.  It  was  modeled  after  the  Epidicazomenos 
of  Apollodorus,  a  play  which  took  its  name  from  the  technical 
term  e7nSiKa£eiv,  "to  adjudge  (to  some  one)  property  under  liti- 
gation," or,  in  the  middle,  "  to  lay  claim  to  "  (in  the  interest  of 
one's  self,  or  of  some  one  else)  with  reference  either  to  property 
itself,  or  to  the  hand  of  an  heiress  who  inherits  it.  According  to 
Athenian  law,  the  nearest  male  relative  of  an  orphaned  girl  was 
obliged  either  to  marry  her,  or  to  furnish  her  with  a  marriage 
portion  of  500  drachmae.  It  is  upon  this  law  that  Phormio  in 
our  play  rests  his  claim  that  Antipho  must  marry  Phanium. 
Terence,  contrary  to  his  usual  custom  and  to  that  of  all  writers 
of  palliatae  of  his  time,  instead  of  retaining  in  this  case  the 
name  of  the  Greek  play,  chose  as  the  title  of  his  Latin  reproduc- 
tion the  name  of  the  character  to  whom  the  term  67riSiKa£o;u,evos 
would  have  been  applicable,  viz.  Phormio.  The  reason  for 
this  was,  without  doubt,  fear  on  the  part  of  Terence  that  the 
Greek  word,  which  called  for  an  explanation  to  all  not  versed 
in  Athenian  law,  would  not  be  understood  by  the  Roman 
public. 

The  action  of  the  play  turns  upon  the  cunning  artifice  by 
which  Phormio,  the  parasite  of  the  young  Antipho,  makes  it 
possible  for  this  youth,  in  the  absence  of  his  father,  to  marry 
a  poor  orphan  girl  from  Lemnos.  Appealing  to  the  law  just 
referred  to,  he  declares  in  court  that  Antipho  and  his  father 
are  the  nearest  relatives  of  the  girl,  and  as  Antipho  does  not 
deny  it,  he  secures  a  decision  of  the  court,  directing  that  Antipho 


INTRODUCTION.  xlvii 

must  marry  her.  The  marriage  accordingly  takes  place  be- 
fore the  arrival  of  the  father.1  They  are  both  supported  by 
the  slave  Geta,  whom  Demipho,  the  father  of  Antipho,  at  his 
departure,  has  left  in  charge  of  his  son,  but  who,  as  the  slaves 
in  Greek  comedy  usually  do,  humors  his  young  master  and 
seeks  at  all  times  to  shield  him,  even  at  the  risk  of  getting 
a  drubbing  himself,  against  the  consequences  of  his  misdeeds. 
They  are  also  aided  by  Phaedria,  the  cousin  of  Antipho.  Phae- 
dria's  father,  Chremes,  brother  of  Demipho,  is  also  absent  on  a 
journey.  In  the  mean  time,  Phaedria  falls  in  love  with  a  music 
girl,  the  slave  of  a  procurer,  but  has  not  sufficient  money  to  pur- 
chase her. 

At  this  point  the  play  opens,  just  as  the  two  old  gentlemen 
return  from  their  journey.  The  marriage  of  Antipho,  having 
already  taken  place  before  the  opening  of  the  play,  the  ques- 
tion now  is :  How  is  the  news  to  be  broken  to  the  father,  and 
how  is  he  to  be  reconciled  to  what  has  taken  place?  Phaedria 
at  the  same  time  is  reduced  to  straits  by  the  action  of  the  pro- 
curer, who,  tired  of  waiting  for  Phaedria  to  purchase  the  music 
girl,  proposes  now  to  sell  her  to  another,  to  be  taken  to  foreign 
lands,  unless  the  money  be  straightway  forthcoming.  This 
trouble  of  Phaedria  is  very  effectively  interwoven  with  the 
main  thread  of  the  play.  Phormio,  while  in  reality  seeking  to 
assure  to  Antipho  the  continued  enjoyment  of  his  present  re- 
lations with  Phanium,  manages  to  procure  from  Demipho  the 
money  needed  by  Phaedria,  on  the  pretext  of  wishing  to  bring 
about  a  dissolution  of  those  relations. 

The  disentanglement  of  the  complications  is  brought  about, 
^as  is  usually  the  case  in  fabulae  palliatae,  purely  by  external 
occurrences.  It  is  no  change  of  disposition  on  the  part  of 


1  In  an  essay  entitled  "Le  proces  du  Phormion"  (Ann.  de  1'assoc. 
p.  1'enc.  d.  et  gr.  en.  France  XII.  48-62),  R.  Lallier  shows  that  the  in- 
trigue devised  by  Phormio  and  his  whole  behavior,  when  one  considers 
the  condition  of  things  in  Athens  at  the  time,  contain  nothing  in  the 
least  improbable. 


Xlviii  INTRODUCTION. 

Demipho  that  brings  about  his  reconciliation  to  the  marriage, 
but  this  is  effected  rather  by  discovery  of  the  identity  of  the 
objectionable  girl  with  one  whom  all  were  ready  to  receive  with 
open  arms.  Phanium,  the  young  wife,  is  found  to  be  the 
daughter  of  Chremes  by  a  secret  marriage,  which  he  has  entered 
into  in  Lemnos,  under  a  fictitious  name  assumed  for  fear  of  dis- 
covery by  his  Athenian  wife.  She  is  thus  found  to  be  in  re- 
ality, what  the  intriguers  merely  pretended  she  was  before  the 
court,  i.e.  one  to  whom  Demipho  and  Antipho  were  next  of  kin. 
She  is,  in  fact,  the  very  person  who  had  long  been  selected 
both  by  Demipho  and  Chremes  as  a  wife  for  Antipho.  By 
disclosure  of  the  secret  to  Nausistrata,  the  Athenian  wife  of 
Chremes,  Phormio,  who  had,  by  a  happy  chance,  learned  of 
the  whole  affair,  is  enabled  at  the  end  to  secure  to  Phaedria 
also  the  possession  of  his  sweetheart. 

The  play  is  characterized  by  a  careful  interweaving  of  the 
various  parts,  and  the  characters  are  clearly  drawn  and  con- 
sistently maintained  throughout.  The  two  young  men,  in  the 
nature  of  things,  seem  very  much  alike.  On  the  contrary,  the 
two  old  men  are  strongly  individualized :  Demipho  is  irritable, 
impetuous,  determined;  Chremes,  irresolute,  timid,  submissive. 
Nausistrata  is  well  aware  of  this  difference  and  bestows  upon 
Demipho,  who,  by  the  way,  is  a  widower  (see  vs.  422  f.),  respect 
as  marked  as  is  the  contempt  with  which  she  treats  her  husband 
(vs.  719  ff.,  784  ff.,  1011  ff.,  1031  ff.).  The  relation  of  Chremes 
to  his  wife  is  made  all  the  more  unfortunate  for  him  by  the 
fact  that  all  the  property  belongs  to  her  (cf.  vs.  586  f.,  680,  788 
ff.,  940). 

To  one  feature  of  the  play,  critics  may,  perhaps,  take  excep- 
tion. Why  does  not  Phormio,  after  having  sufficiently  bantered 
the  old  men  and  compelled  them,  by  threatening  to  tell  Nau- 
sistrata of  the  secret  marriage,  to  give  up  all  claim  to  the 
money  already  paid  him,  —  why  does  not  Phormio  content  him- 
self with  this  result  ?  Why  does  he,  by  carrying  out  his  threat, 
again  set  at  stake  what  he  has  won  ?  He  must  indeed  have 
foreseen  that  he  would  not  be  able  to  carry  out  his  plan  without 


INTRODUCTION. 

exposing  the  secret  of  Phaedria.  The  play  might  well  have 
come  to  a  rapid  close  after  vs.  947,  when  all  the  complications 
had  come  to  a  happy  termination.  Still,  it  is  quite  in  harmony 
with  the  bold,  determined  character  of  Phormio,  that  he  im- 
proves the  opportunity  for  the  spirited  scene  which  follows; 
and  again  the  demands  of  justice,  as  it  were,  required  that 
Chremes  should  be  made  to  pay  the  penalty  of  his  faithlessness 
and  ill-becoming  conduct.  For  Phaedria  there  was  the  prospect 
of  winning  his  mother  as  an  ally  in  his  love-affair,  and  for 
Phormio  that  of  becoming  a  permanent  guest  in  the  house  of 
Chremes  (cf.  vs.  1050  ff.).  Whatever  may  be  said  regarding 
this  addition  from  an  artistic  point  of  view,  it  may  at  any  rate 
be  said  that  the  play  is  thereby  enriched  by  a  very  effective 
sc^ne. 

The  Phormio,  in  addition  to  the  excellences  which  mark  the 
manner  in  which  the  plot  is  carried  out  and  its  portrayal  of 
character,  is  distinguished  also  for  its  spirited  and  smoothly 
flowing  language.  It  met  with  a  decided  success  at  its  first 
presentation.  The  r61e  of  Phormio  was,  according  to  Donatus 
(Phorm.  II.  2, 1),  taken  by  the  theatrical  director,  Ambivius,  him- 
self, to  the  entire  satisfaction  of  the  poet.  It  is  probable  from 
vs.  378  that  Phormio  is  to  be  thought  of  as  a  young  man. 

The  production  of  the  Phormio  was  probably  repeated  a,t  the 
ludi  Megalenses  in  141  B.C.  under  the  direction  of  L.  Atilius 
Praenestinus.  Notices  to  that  effect  are  found  in  the  didascalia 
of  the  play.  In  antiquity  it  was  without  doubt  one  of  the  best 
known  comedies  extant,  being  a  favorite  both  on  the  stage  and 
for  private  reading.  It  is  owing  to  this  fact  that  Phormio 
became  in  antiquity  the  universal  type  of  a  bold  and  insolent 
man.1  A  drama  (mime?)  of  the  same  name  was  written  by 


iCf.  Cic.  Phil.  II.  6,  15:  ...  Phormioni  alicui;  pro  Caec.  10,27: 
.  .  .  argentarius  Sex.  Clodius,  cui  cognomen  est  Phormio,  nee  minus 
niger  nee  minus  confident  quam  ille  Terentianus  est ;  cf.  Cic.  de  nat. 
deor.  III.  29,  73.  In  Ausou.  Epist.  XXII.  9  ff.,  a  man  is  represented  as 
canus,  comosus,  hispidus,  trux,  atribux,  Terentianus  Phormio, 
etc. 


1  INTRODUCTION. 

Valerius  in  the  time  of  Cicero,  but  we  know  nothing  more  re- 
garding it. 

In  modern  times,  Moliere  has  taken  the  material  for  his 
comedy,  Les  fourberies  de  Scapin  (1671  A.D.)  from  the  Phormio 
of  Terence,  but  has  handled  it  with  great  freedom.  The  chief 
motive  of  the  play  has  been  changed,  other  material  has  been 
introduced,  and  the  purely  comic  side  of  the  play  has  been 
brought  into  greater  prominence. 


TERENTI   PHORMIO. 


INCIPIT  TERENTI  PHORMIO 

ACTA  LVDIS  ROMANIS 
L-POSTVMIO  ALBINO  L-CORNELIO  MERVLA 

AEDILIB  •  CVRVLIB  . 

EG/T  L-AMBIVIVS  TVRPIO  [L-ATILIVS  PRAENESTINVS] 
MODOS  FECIT  FLACCVS  CLAVDI 

TIBlS   INPARIB  •  TOTA 

GRAECA  APOLLODORV  EPIDICAZOMENOS 
FACTA   IIII 

C-FANNIO  M. VALERIC  cos- 


G.  SVLPICI  APOLLINAEIS  PERIOCHA. 

Chremelis  frater  aberat  peregre  Dfimipho 
Relicto  Athenis  Antiphone  filio. 
Chremfis  clam  habebat  Lemni  uxorem  et  filiam, 
Athfinis  aliam  coniugem  et  amantem  linice 
Gnatum  fidicinam.     mater  e  Lemno  Muenit  5 

Athenas;  moritur;  uirgo  sola  (aberat  Chremes) 
Funus  procurat.     ibi  earn  uisam  Antipho 
Cum  amaret,  opera  parasiti  uxorem  accipit. 
Pater  fit  Chremes  reuersi  fremere.     dein  minas 
Triginta  dant  parasito,  ut  illam  coniugem  10 

Haberet  ipse.     argfinto  hoc  emitur  fidicina. 
Vxorem  retinet  Antipho  a  patruo  adgnitam. 
3 


PEKSONAE 

PROLOGVS. 

DAVOS,  a  slave. 

GETA,  slave  of  Demipho. 

ANTIPHO,  son  of  Demipho. 

PHAEDRIA,  son  of  Chremes. 

DEMIPHO,  an  old  man,  citizen  of  Athens. 

PHORMIO,  a  parasite. 

HEGIO       I 

CRATINVS  Y  legal  advisers  to  Demipho. 

CRITO 

DORIO,  a  procurer. 

CHREMES,  an  old  man,  brother  of  Demipho. 

SOPHRONA,  a  nurse. 

NAVSISTRATA,  wife  of  Chremes. 

CANTOR. 

4 


PKOLOGVS. 

Postqu&n  poeta  uetus  poetam  ndn  potest 
Retrahere  a  studio  et  transdere  hominem  in  dtium, 
Maledictis  deterrere  ne  scribat  parat ; 
Qui  ita  dictitat,  quas  antehac  fecit  fabulas, 
Tenui  esse  oratidne  et  scriptura  leui,  5 

Quia  niisquam  insanum  scripsit  adulescdntulum 
Ceruam  uidere  fugere  et  sectari  canes 
Et  earn  plorare,  orare  ut  subueniat  sibi. 
Quod  si  intellegeret,  qudm  stetit  olim  noua, 
Actdris  opera  magls  stetisse  qu'am  sua,  10 

Minus  multo  audacter,  quam  nunc  laedit,  ladderet. 
Nunc  si  quis  est,  qui  hoc  dicat  aut  sic  cdgitet : 
'  Vetus  si  poeta  n6n  lacessisset  prior, 
Nullum  muenire  prdlogum  posset  nouos/ 
[Quern  diceret,  nisi  haberet  cui  male  diceret,]          15 
Is  sibi  responsum  hoc  habeat,  in  medio  dmnibus 
Palmam  esse  positam,  qui  artem  tractant  miisicam. 
Ille  ad  famem  hunc  a  studio  studuit  reicere : 
Hie  respondere  udluit,  non  lacessere. 
Benedictis  si  certasset,  audisset  bene.  20 

Quod  ab  illo  adlatumst,  sibi  6sse  rellatum  putet. 
De  illd  iam  finem  faciam  dicundi  mihi, 
Pecca'ndi  quom  ipse  de  se  finem  n<5n  facit. 
Nunc  quid  uelim  animum  attendite :  adportd  nouam 
Epidicazomenon  quam  uocant  comoediam  25 

Graeci,  Latini  Phdrmionem  ndminant, 
Quia  primas  partis  qui  aget,  is  erit  Phdrmio 
Parasitus,  per  quern  res  geretur  m£txume, 
6 


6  TERENTI    PHORMIO. 

Voluntas  uostra  si  ad  poetam  accesserit. 

Date  6peram,  adeste  aequo  animo  per  silentium,      3C 

Ne  simili  utamur  fortuna  atque  usi  sumus 

Quom  per  tumultum  ndster  grex  mottis  locost : 

Quern  actoris  vdrtus  nobis  restituit  locum 

Bonitasque  uostra  adiiitans  atque  aequanimitas. 


SCENE  :  A  street  in  Athens,  leading,  as  usual,  on  the  specta- 
tors' right,  to  the  interior  of  the  city,  and  on  their  left,  to 
the  harbor  and  foreign  lands.  In  the  middle  of  the 
background  stands  the  house  of  Demipho,  on  the  left 
that  of  Chremes,  and  on  the  right  that  of  Dorio.  This 
scene  remains  unchanged  throughout  the  play. 

ACTVS  I. 
Sc.  1. 

Davus  has  been  asked  by  Geta  to  settle  an  account  of  long 
standing.  He  speculates  as  to  the  meaning  of  this  urgent  dun. 
—  The  whole  of  the  first  act  is  written  in  iambic  senarii.  For 
the  appropriateness  of  this  verse  in  introducing  the  audience  to 
the  general  situation,  see  Introd.,  p.  xxxvi. 

[Davus  enters  from  the  right,  carrying  a  bag  of  money, 
and  addresses  the  audience.] 

DAVOS 

Amicus  summus  me'us  et  popularis  Geta  35 

Heri  ad  me  uen.it.     erat  ei  de  ratiiincula 
lam  pridem  apud  me  relicuom  pauxillulum 
Nummorum :  id  ut  conf icerem.     conf eci :  adfero. 
Nam  erilem  filium  ems  duxisse  audio 
Vxdrem.     ei  credo  munus  hoc  (holding  up  the  bag)  con- 
ra"ditur.  40 

Quam  inique  comparatumst,  ei  qui  minus  habent 
Vt  semper  aliquid  addant  ditidribus  ! 
Quod  Ille  linciatim  uix  de  demens<5  suo 

7 


8  TERENTI  [1.  1.  10- 

Sudm  defrudans  genium  compersit  miser, 
Id  ilia  uniuorsum  abrfpiet,  baud  existumans  46 

Quanto  labore  partum.     porro  autem  Geta 
Ferietur  alio  miinere,  ubi  era  pepererit ; 
Porro  autem  alio,  ubi  erit  puero  natalis  dies ; 
Vbi  initiabunt.     dmne  hoc  mater  aiif eret : 
Pu6r  causa  erit  mittundi.     (Geta  comes  out  of  Demipho's 
house)  sed  uidedn  Getam  ?  50 

So.  2. 

Geta  tells  how  utterly  futile  have  been  his  attempts  to  manage 
the  two  young  men  who  have  been  left  in  his  charge,  how  each 
has  become  involved  in  a  love  affair,  and  how  one  of  them, 
Antipho,  has  even  contrived  to  get  married.  All  parties  are 
now  dreading  the  return  of  Antipho's  father.  —  For  the  metre, 
see  remarks  at  the  beginning  of  Sc.  1. 

GETA  DAVOS 

GE.  (not  seeing  Davus  and  speaking  to  some  one  within)  Si 
quis  me  quaeret  riif us  —  DA.  (approaching  and 
tapping  Geta  on  the  shoulder)  Praestost,  desine. 
GE.  (looking  around)  Oh, 

At  ego  dbuiam  conabar  tibi,  Daue.  DA.  (offering  the  bag 
to  Geta)  Accipe,  em: 

Lectiimst ;  conueniet  mimerus  quantum  debui. 

GE.  Amd  te ;  et  non  neclexisse  habeo  gratiam. 

DA.  Praesertim  ut  nunc  sunt  mdres.    adeo  res  redit :       55 

Si  quis  quid  reddit,  magna  habendast  gratia. 

Sed  quid  tu  es  tristis  ?     GE.  Egone  ?  nescis  quo  in  metu, 

Quanto  in  periclo  simus !   DA.  Quid  Istuc  est  ?   GE.  Scies, 

Modo  lit  tacere  pdssis.     DA.  Abl  sis,  insciens ! 

Quoins  tii  fidem  in  peciinia  perspexeris,  60 


1.  2.  39.]  PHORMIO. 

Verere  uerba  ei  credere  ?     ubi  quid  mihi  lucrist 

Te  fallere  ?     GE.  Ergo  ausciilta.    DA.  Hanc  operam  tibi 

dico. 

GE.  Senls  ndstri,  Dane,  fratrem  maiorem  Chremem 
Nostin?      DA.    Quid    ni?      GE.    Quid?     eius    gnatum 

Phaedriam  ? 

DA.  Tarn  quam  te.    GE.  Euenit  senibus  ambobus  simul  65 
Iter  illi  in  Lemnum  ut  esset,  nostro  in  Ciliciam 
Ad  hdspitem  antiquom.     is  senem  per  epistulas 
Pellexit,  modo  non  mdntis  auri  pdllicens. 
DA.  Quoi  tanta  erat  res  et  supererat  ?     GE.  Desinas  — 
Sic  est  ingenium.     DA.  Oh,  regem  me  esse  opdrtuit.      70 
GE.  Abeuntes  ambo  hie  tiim  senes  me  filiis 
Relmquont  quasi  magistrum.     DA.  0  Geta,  proumciam 
Cepisti  duram.      GE.  (shrugging  Ms  shoulders)  Mi  usus 

uenit,  hoc  scio : 

Memini  relinqui  me  deo  irat<5  meo. 

Coepi  aduorsari  primo  —  quid  uerbis  opust  ?  75 

Seni  fi  delis  diim  sum,  scapulas  perdidi. 
DA.  Venere  in  mentem  mi  istaec :  namque  inscitiast, 
Aduorsum  stimulum  calces.     GE.  Coepi  eis  omnia 
Facere,  obsequi  quae  uellent.     DA.  Scisti  uti  foro. 
GE.  Noster  mali  nil  quicquam  primo ;  hie  Phaedria       80 
Continue  quandam  nactus  est  puellulam 
Citharistriam ;  hanc  am^re  coepit  perdite. 
Ea  seruiebat  lenoni  inpurissumo, 
Neque  qu6d  daretur  quicquam ;  id  curarant  patres. 
Restabat  aliud  nil  nisi  oculos  pascere,  85 

Sectari,  in  ludum  diicere  et  rediicere. 
Nos  6tiosi  oper^m  dabamus  Phaedriae. 
In  quo  haec  discebat  ludo,  exaduorsum  ilico 
Tonstrina  erat  quaedam.     hie  solebaniiis  fere 


10  TERENTI  [1.  2.  40- 

Plerumque  earn  opperiri,  dum  inde  iret  domum.  90 

Interea  dum  sedemus  illi,  interuenit 
A.dulescens  quidam  lacrumans.     nos  mirarier ; 
Rogamus  quid  sit.  'numquam  aeque'  inquit  'acmodo 
Paupertas  mihi  onus  uisumst  et  miserum  et  graue. 
Modo  quandam  uidi  uirginem  hie  uiciniae  95 

Miseram  suam  matrem  lamentari  mdrtuam. 
Ea  sita  erat  exadudrsum,  neque  Illi  beniuolus 
Neque  ndtus  neque  cognatus  extra  unam  aniculam 
Quisquam  aderat,  qui  adiutaret  funus.     miseritumst. 
Virgo  ipsa  facie  egregia.'     quid  uerbis  opust  ?  100 

Commdrat  omnis  nds.     ibi  continue  Antipho 
'  Voltisne  eamus  uisere  ? '  alius  '  censeo : 
Eamus :  due  nos  sddes.'     imus,  uenimus, 
Videmus.     uirgo  piilchra  et,  quo  magls  diceres, 
Nil  aderat  adiuraenti  ad  pulchritudinem.  105 

Capillus  passus,  niidus  pes,  ipsa  hdrrida, 
Lacrumae,  uestitus  turpis ;  ut,  ni  uis  boni 
In  ipsa  inesset  fdrma,  haec  formam  extmguerent. 
Ille  qui  illam  amabat  fidicinam  tantuin  modo 
'  Satis '     inquit     '  scitast ' ;     ndster     uero  —  DA.    lam 
scio:  110 

Amare  coepit.     GE.  Scin  quam  ?  quo  euadat  uide. 
Postridie  ad  anum  recta  pergit,  dbsecrat 
Vt  sibi  eius  faciat  cdpiam.     ilia  enlm  se  negat 
Neque  eum  aequom  ai't  facere,  illam  ciuem  esse  Atticam, 
Bonam  bonis  prognatam :  si  uxorem  uelit,  115 

Lege  id  licere  facere ;  sin  aliter,  negat. 
Noster  quid  ageret  nescire.     et  Illam  diicere 
Cupiebat  et  metuebat  absentem  patrem. 
DA.  Non,  si  redisset,  ei  pater  ueniam  daret  ? 
GE.   Ille  indotatam  uirginem  atque  igndbilem  120 


1. 2.  95.]  PHORMIO.  11 

Daret  illi  ?  nuinquam  f aceret.     DA.  Quid  fit  denique  ? 

GE.   Quid  fiat  ?  est  parasitus  quidam  Phdrniio, 

Homd  confidens  —  (with  a  sudden  outburst  of  passion)  qui 

ilium  di  omnes  perduint ! 
DA.  Quid   Is    fecit?      GE.   Hoc  consilium    quod   dic£m 

dedit : 

'Lex  est  ut  orbae,  qui  sint  genere  prdxumi,  35 

Eis  nubant,  et  Illos  ducere  eadein  haec  lex  iubet 
Ego  te  cognatum  dicam  et  tibi  scribam  dicam  j 
Paternum  amicum  me  adsimulabo  uirginis ; 
Ad  iiidices  ueniemus ;  qui  f uerit  pater, 
Quae  mater,  qui  cognata  tibi  sit,  dmnia  haec  130 

Conf  ingam,  quod  erit  mihi  bonum  atque  cdmmodum. 
Quom  tu  hdrum  nil  refelles,  uincam  scilicet. 
Pater  aderit ;  mihi  paratae  lites ;  quid  mea  ? 
Ilia  quidem  nostra  erit.'     DA.  locularem  audaciam ! 
GE.  Persuasumst    homini ;  factumst ;    uentumst ;  uinci- 

mur ;  135 

Duxit.       DA.   Quid    narras?       GE.    H6c    quod    audis. 

DA.  6  Geta, 

Quid  te  futurumst  ?     GE.  Nescio  hercle.    unum  h6c  scio, 
Quod  fors  feret,  feremus  aequo  animd.     DA.  Placet. 
Em,   (patting   Geta  on  the   back)   Istiic   uirist    officium. 

GE.  In  me  omnis  spes  mihist. 

DA.  Laudo.   GE.  Ad  precatorem  adeam  credo,  qui  mihi  140 
Sic  dret :  '  nunc  amitte  quaeso  hunc ;  ceterum 
Posthac  si  quicquam,  nil  precor.'     tantum  modo 
Non  addit :  '  ubi  ego  hinc  abiero,  uel  occidito.' 
DA.  Quid  paedagogus  ille,  qui  citharistriam — (insinuat- 
ingly)? 
Quid   rei   gerit?      GE.    (shrugging    his    shoulders)    Sic, 

tenuiter.     DA.  Non  miiltuui  habet  145 


12  TERENTI  [1. 2. 9&- 

Quod  det  fortasse  ?    GE.  fmmo  nil  nisi  spem  meram. 
DA.  Pater  eius  rediit  an  non  ?    GE.  Non  dum.    DA.  Quid? 

senem 

Quoad  expectatis  udstrum  ?     GE.  Non  certum  scio, 
Sed  epistulam  ab  eo  adlatam  esse  audiui  modo 
Et  ad  pdrtitores  esse  delatam :  hanc  petam.  150 

DA.  Num  quid,  Geta,  aliud  me  uis  ?    GE.  Vt  bene  sit  tibi. 

(Exit  Davus  toward  the  market-place.    Geta  approaches 

Demipho's  house  and  calls  to  slave  within.') 
Puer,  heiis !    nemon  hoc  prodit  ?    (A  slave  appears  at  the 

door.)     Cape,  da  hoc  Ddrcio. 
(Exit  toward  tJte  harbor,  ivhile  the  slave  re-enters  the  house.) 


8. 1. 7.]  PHORMIO.  13 


ACTVS  II. 

So.  1  [I,  3]. 

The  two  young  men  discuss  their  unhappy  lots.  — As  the  interest 
quickens,  the  verse  shifts  rapidly  from  one  metre  to  another 
until  vs.  164.  There  Phaedria's  tone  suddenly  changes  and  there 
follows  a  series  of  iambic  octonarii,  which  continue  till  Antipho 
catches  sight  of  Geta  in  vs.  177.  The  scene  then  closes  with 
two  iambic  septenarii.  Throughout  the  scene  the  words  of  the 
actors  are  accompanied  by  appropriate  music  from  the  flute. 
Verses  153-163  are  sung.  See  Introd.,  p.  xxxvi  f. 

[Antipho  and  Phaedria  enter,  probably  from   the  house 
of  Cliremes.~\ 

ANTIPHO  PHAEDRIA 

AN.  JLdeon  rem  redisse  ut,  qui  mi  cdnsultum  optume  uelit 

esse, 
Phaedria,  patrem  ut  extimescam,  ubi   in  mentem  eius 

aduenti  ueniat ! 
Qu<5d  ni  fuissem  incdgitans,  ita  [eum]  e"xpectarem,  ut  pa"r 

fuit.  156 

PH.  Quid  Istuc  est  ?     AN.  Rogitas,  qui  tarn  audacis  faci- 

noris  mihi  consciu's  ? 
Qudd  utinam  ne  Ph6rmioni  id  suadere  in  mentem  in- 

cidisset 
Neii  me  cupidum  eo  inpulisset,  qudd  mihi  principiumst 

mali! 
N6n  potitus  essem :  fuisset  turn  illos  mi  aegre  aliqudd 

dies, 


14  TERENTI  [2.  1.  8- 

At     ndn      cottidiana     cura     haec     angeret      animum, 

PH.  Audio.  160 

AN.  Dum  expecto  quam  mox  ueniat  qui  adimat  hanc  mihi 

consuetudinem. 
PH.  Aliis  quia  defit  quod  amant  aegrest ;  tibi  quia  super- 

est  dolet. 

Amdre  abundas,  Antipho. 
Nam  tiia  quidem  hercle  certo  uita  haec  expetenda  optan- 

daque  est. 
Ita  me  di  bene  ament,  lit  mi  liceat  tarn  diu  quod  amd 

frui,  165 

lam  depecisci  mdrte  cupio.     tu  conicito  cetera, 
Quid  ego  ex  hac  inopia  nunc  capiam,  et  quid  tu  ex  istac 

cdpia ; 
Vt  ne   addam,  quod  sine   sumptu   ingenuam,  liberalem 

nactus  es, 
Quod  babes,    ita  ut  uoluisti,   uxorem   sine   mala  fama" 

palam, 

Beatus,  ni  unum  desit,  animus  qui  modeste  istaec  ferat.  170 
Quod  si  tibi  res  sit  cum  e6  lenone  qud  mihist,  turn  sentias. 
Ita  plerique  omnes  sumus  ingenio :  nostri  nosmet  paenitet. 
AN.  At  tu  mihi  contra  nunc  uidere  fdrtunatus,  Phaedria, 
Quoi  de  integro  est  potestas  etiam  cdnsulendi,  quid  uelis : 
E-etinere  an  amorem  amittere ;  ego  in  eum  incidi  infelix 

locum,  175 

Vt  neque  mihi  eius  sit  amittendi  nee  retinendi  cdpia. 
Sed   quid  hSc   est?   uideon  ego  Getam  currentem    hue 

aduenire  ? 
Is  6st  ipsus.    ei,  timed  miser,  quam  hie  mihi  nunc  nuntiet 

rem. 


2. 2.  11.]  PHORMIO.  16 

Sc.  2  [I,  41. 

Geta  enters  in  great  excitement  from  the  harbor.  He  has  heard  of 
the  sudden  arrival  of  Demipho.  Antipho  tries  to  muster  courage 
enough  to  face  his  father,  but  it  is  of  no  use.  He  finally  takes 
to  his  heels,  leaving  Phaedria  to  fight  his  battle  for  him.  —  Most 
of  this  scene  also  is  accompanied  by  music,  to  which  verses  178- 
196(?)  are  sung.  The  verse  shifts  rapidly  from  one  metre  to  an- 
other during  Geta's  soliloquy  and  the  "  asides"  of  Antipho  and 
Phaedria.  With  the  dialogue  between  Geta  and  the  young  men, 
begins  a  series  of  trochaic  septenarii,  which  continue  until 
Antipho's  flight  at  his  father's  approach  (in  216).  The  music 
then  ceases,  and  the  scene  ends  with  a  dialogue  in  iambic  senarii. 
For  the  adaptability  of  the  different  metres  to  different  moods, 
see  Introd.,  p.  xxxvi  f. 

GETA  ANTIPHO  PHAEDRIA 

GE.  (to  himself,  not  noticing  Antipho  and  Phaedria)  Nullus 

es,  Geta,  nisi  iam  aliquod  tibi  consilium.  celere  reperis : 
Ita  nunc  inparatum  subito  tanta  te  inpendent  mala ;  180 
Quae  neque  uti  deuitem  scio  neque  qu6  modo  me  inde 

extraham ; 

Nam  ndn  potest  celari  nostra  diutius  iam  aud^cia. 
AN.  (aside  to  Phaedria)  Quid  illic  commotus  uenit  ? 
GE.  Turn  temporis  mihi  punctum  ad  hanc  rem  est:  erus 

adest.     AN.  (aside  to  Phaedria)  Quid  Illuc  malist  ? 
GE.  Quod  quom  audierit,  qudd  6ius  remedium  inueniam 

iraciindiae  ?  185 

Loquarne  ?  incendam ;  taceam  ?  instigem ;  purgem  me  ? 

laterem  lauem. 
He^a  me  miserum!  qudm  mihi  paueo,  turn  Antipho  me 

excriiciat  animi. 
Eius  me  miseret,  ei  nunc  timeo,  is  mine  me  retinet ;  nam 

absque  eo  esset. 


16  TERENTI  [2-  2.  12- 

Recte  ego  mihi  uidissem  et  senis  essem  ultus  iracundiam  : 
Aliquid  conuasassem  atque  hinc  me  conicerem  protinam 

in  pedes.  190 

AN.  (aside  to  Phaedrid)  Quam  nam  hie  fugam  aut  furtiim 

parat  ? 
GE.  Sed  ubi  Antiphonem  reperiam?     aut  qua  quaerere 

insistam  uia  ? 
PH.  (aside  to  Antipho)  Te  n<5minat.     AN.  (aside  to  Phae- 

dria)  Nescio  quod  magnum  hoc  nuntio  expecto  ma- 

lum.     PH.  (aside  to  Antipho)  Ah  ! 
[Sanun  es  ?]     GE.  Dommn  ire  pergam :  ibi  pkirimumst. 

PH.  (aside  to  Antipho)  Reuocemus  hominem.     AN. 

(peremptorily  to  Geta~)  Sta  ilico !     GE.  (without  turn- 
ing) Hem, 
Satis  pro  imperio,  quisquis  es.     AN.  Geta !     GE.  (turning 

at  the  sound  of  his  name)  fpsest   quern   uolui   <5b- 

uiam.  195 

AN.  Cedo,  quid  portas,  dbsecro  ?  atque  id,  si  potes,  uerbo 

expedi. 
GE.  Faciam.     AN.  Eloquere.     GE.  M6do  apud  portum  — 

AN.  (in  dismay  at  Geta's  ominous  beginning*)  Meumne  ? 

GE.  Intellexti.     AN.  (trembling  with  fright)  6ccidi. 

PH.  Hem! 
AN.  Quid    agam?      PH.    (turning    to    Geta)    Quid    ai's? 

GE.   Huius  patrem  uidisse  me,  [et]  patrudm  tuom. 
AN.    Nam  quod  ego  huic  nunc  siibito  exitio  remedium 

inueniam    miser?      (Wringing    his    hands    and    in 

imagination  addressing  Phanium)  200 

Qudd  si  eo  meae  fortunae  redeunt,  Phanium,  abs  te  ut 

distrahar, 
Nullast  mihi  uita  expetenda.     GE.   Ergo  istaec  quom  ita 

sint,  Antipho, 


2. 2. 38.]  PHORMIO.  17 

Tanto  magls  te  aduigilare  aequomst.  (Encouragingly) 
fdrtis  fortuna  adiuuat. 

AN.  (iveakly)  N(5n  sum  apud  me.  GE.  Atqui  dpus  est 
nunc  quoin  maxume  ut  sis,  Antipho ; 

Nam  si  senserit  te  timidum  pater  esse,  arbitrabitur      205 

Commeruisse  ciilpam.  PH.  Hoc  uerumst.  AN.  Ndn 
possum  inmuta'rier. 

GE.  Quid  faceres,  si  aliiid  quid  grauius  tibi  nunc  faciun- 
dum  f oret  ? 

AN.  Quom  hoc  non  possum,  illiid  minus  possem.  GE.  Hoc 
nil  est,  Phaedria.  ilicet. 

(Losing  all  patience)  Quid  hie  conterimus  dperam  f  rustra  ? 
quin  abeo  ?  PH.  Et  quidem  ego  ?  (  They  turn  to  go.} 
AN.  (frightened  at  the  thought  of  being  left  alone) 
6bsecro, 

Quid  si  adsimulo  ?  (trying  to  look  self-possessed)  satinest  ? 
GE.  (without  turning)  Garris.  AN.  V<51tum  contem- 
plamini :  em  !  210 

Satine  sic  est?  GE.  (looking  at  him,  somewhat  indiffer- 
ently) Non.  AN.  (assuming  a  bolder  expression) 
Quid  si  sic?  GE.  Prdpemodum.  AN.  (folding  his 
arms  with  great  dignity)  Quid  sic?  GE.  (enthusias- 
tically) Sat  est: 

Em,  istuc  serua;  et  ue'rbum  uerbo,  par  pari  ut  respdndeas, 

Ne  te  iratus  suis  saeuidicis  dictis  protelet.     AN.  Scio. 

GE.  Vi  coactum  te  esse  inuitum.  PH.  Lege,  iudicid. 
GE.  Tenes? 

(Demipho  seen  approaching  from  the  harbor.}  Sed  hie  quis 
est  senex,  quem  uideo  in  ultima  platea  ?  ipsus  est.  215 

AN.  (frantically  taking  to  his  heels)  Non  pdssum  adesse. 
GE.  (calling  after  him)  Ah !  quid  agis  ?  quo  abis, 
Antipho  ? 


18  TERENTI.  [2. 2. 39- 

Mane  inquam.     AN",  (hurriedly,   as  he   leaves  the  stage) 

Egomet  me  ndui  et  peccatum  meum. 
Vobis  commendo  Phanium  et  uitam  meam. 
PH.  Geta,  quid  nunc  fiet  ?     GE.  Tii  iam  litis  aiidies ; 
Ego  plectar  pendens,  nisi  quid  me  fefellerit.  220 

Sed  quod  modo  hie  nos  Antiphonem  mdnuimus, 
Id  ndsmet  ipsos  facere  oportet,  Phaedria. 
PH.  Auf  er  mi  '  oportet ' :  quin  tu  quid  f  aciam  impera. 
GE.  Meministin,  olim  ut  Merit  uostra  oratio 
In  re  incipiunda  ad  defendendam  ndxiam,  225 

lustam  illam  causam,  facilem,  uincibilem,  dptumam? 
PH.  Memini.     GE.  Em !  nunc  ipsast  opus,  ea  aut,  si  quid 

potest, 

Melidre  et  callididre.     PH.  Fiet  sedulo. 
GE.  Nunc  prior  adito  tu,  ego  in  insidiis  hie  ero 
Subcenturiatus,  si  quid  deficias.     PH.  Age.     (Both  retire 

to  an  obscure  corner  to  await  developments.}  230 

Sc.  3  [II,  1]. 

Demipho  returns  from  his  journey,  enraged  at  what  he  has  heard 
regarding  his  son's  marriage.  Phaedria  and  Geta  try  to  explain 
matters,  but  the  old  man  cannot  be  reconciled.  — The  scene  opens 
with  trochaic  septenarii  and  iambic  octonarii,  accompanied  by 
music,  which  continues  during  the  soliloquy  of  Demipho  and  the 
"asides"  of  Geta  and  Phaedria.  With  the  meeting  between 
Demipho  and  Phaedria  in  253,  the  music  ceases  and  the  rest  of  the 
scene  is  a  dialogue  in  iambic  senarii.  See  Introd. ,  p.  xxxvi  f . 

[Demipho  enters  from  the  harbor. ~\ 
DEMIPHO          PHAEDRIA          GETA 

DE.   (muttering  to  himself}   Itane  tandem  uxdrem  duxit 
Antipho  iniussu  meo  ? 


2. 3. 20.]  PHORM1O.  19 

Nec  meum  imperiuin  —  ac  mitto  imperium  —  ndn  simul- 

tatem  meam 

Reuereri  saltern !  ndn  pudere !  o  facinus  audax,  6  Geta 
Monitor !    GB.  (aside)  Vix  tandem.     DE.  (to  himself)  Quid 

mini  dicent  aut  quam  causam  reperient? 
Demiror.     GE.  (aside')  Atqui  reperiam — aliudciira.     DE. 

An  hoc  dicet  mihi :  235 

'Inuitus  feci.     lex  coegit'?  audio,  fatedr.     GE.   (aside) 

Places. 

DE.  Veriim  scientem,  taciturn  causam  tradere  aduorsariis, 
Etiamne  id  lex  coegit  ?  PH.  (aside  to  Geta)  Illud  durum. 

GE.  (aside  to  Phaedria)  Ego  expediam  —  sine. 
DE.    Incertumst   quid   agam,   quia  praeter   spem   atque 

mcredibile  hoc  mi  dbtigit. 
Ita  sum  inritatus,  animum  ut  nequeam  ad  cdgitandum 

instituere.  240 

Quam  ob  rem  dmnis,  quom  seciindae  res  sunt  m^xume, 

turn  maxume 
Meditari  secum  opdrtet,  quo  pacto  aduorsam  aerumnam 

f  erant : 

Pericla,  damna,  exilia  peregre  rediens  semper  cdgitet, 
Aut  fili  peccatum  aut  uxoris  mdrtern  aut  morbum  filiae ; 
Commiinia  esse  haec,  fieri  posse,  ut  ne  quid  animo  sit 

nouom ;  245 

Quidquid  praeter  spem  eueniat,  omne  id  deputare  esse  in 

lucre. 
GE.  (aside)  0  Phaedria,  incredfbile[st]    quantum   erum 

ante  eo  sapientia. 

Meditata  mihi  sunt  dmnia  mea  incdmmoda,  ems  si  redierit : 
MolendumsZ  in  pistrino,  uapulandum,  habendae  cdmpedes, 
Opus  ruri  f  aciundum.  hdrum  nil  quicquarn  accidet  anim6 

nouom.  250 


20  TERENTI  [2-  3. 21- 

Quidquid  praeter  spem  eueniet,  omne  id  deputabo  esse  in 
lucro. 

Sed  quid  cessas  hdminem  adire  et  blande  in  principio 
adloqui?  (Phaedria  hurries  forward  as  though  de- 
lighted at  seeing  Demipho  back  again.) 

DE.  (to  himself)  Phaedriam  mei  fratris  uideo  filium  mi 
ire  dbuiam. 

PH.  (to  Demipho')  Mi  patrue,  salue !  DE.  (savagely)  Salue ! 
sed  ubist  Antipho  ? 

PH.  Salu6in  uenire  —  DE.  (impatient  at  Phaedria's  evasion 
of  his  question)  Credo ;  hoc  responde  mihi.  255 

PH.  Valet,  hie  est ;  sed  (cheerily)  satin  dmnia  ex  sententia  ? 

DE.  Vellein  quidem.  PH.  (pretending  surprise)  Quid  Istuc 
est  ?  DE.  Rogitas,  Phaedria  ? 

(With  withering  sarcasm)  Bonas  me  absente  hie  cdnfecistis 
miptias. 

PH.  Eho,  an  id  suscenses  mine  illi  ?  GE.  (aside,  delighted 
with  Phaedria's  clever  acting)  Artificem  proburn ! 

DE.  Egon  illi  non  suscenseam  ?  ipsum  gestio  260 

Darl  mi  in  conspectum,  mine  sua  culpa  ut  sciat 

Lenem  patrem  ilium  factum  me  esse  acerrumum. 

PH.  Atqui  nihil  fecit,  patrue,  quod  suscenseas. 

DE.  Ecce  aiitem  similia  dmnia !  omnes  cdngruont ; 

Vnum  quom  noris,  dmnis  noris.  PH.  (with  an  air  of  in- 
jured innocence)  Haiid  itast.  265 

DE.  Hie  In  ndxiast,  ille  ad  di'cendam  caiisam  adest ; 

Quom  illest,  hie  praestost;  tradunt  operas  mutuas. 

GE.  (aside)  Probe  hdrum  facta  inprudens  depinxit  senex. 

DE.  Nam  ni  haec  ita  essent,  cum  illo  hand  stares,  Phaedria. 

PH.  Si  est,  patrue,  culpam  ut  Antipho  in  se  admiserit,  270 

Ex  qua  re  minus  rei  fdret  aut  famae  temperans, 

Non  causam  dico  quin  quod  meritus  sit  ferat. 


2. 3. 71.]  PHORMIO.  21 

Sed  si  quis  forte  malitia  fretiis  sua 
Insidias  nostrae  fecit  adulescentiae 

Ac  uicit,  nostran  culpa  east  an  iudicum,  275 

Qui  saepe  propter  inuidiam  adimunt  diuiti 
Aut  prdpter  misericdrdiam  addunt  paiiperi  ? 
GE.  (aside)  Ni  ndssem  causam,  crederem  uera  hiinc  loqui. 
DE.  An  quisquam  iudex  est,  qui  possit  ndscere 
Tua  iusta,  ubi  tute  uerbum  non  respdndeas,  280 

Ita  ut  ille  fecit  ?     PH.  Fiinctus  adulescentulist 
Officium  liberalis.     postquam  ad  indices 
Ventiimst,  non  potuit  cdgitata  prdloqui ; 
Ita  eiim  turn  timidum  \llic  obstupefecit  pudor. 
GE.  (aside)  Laudo  hiinc.     sed  cesso  adire  quam  primum 
senem  ?     (Hushing  up  to  Demlpho,  as  though  in  great 
trouble  and  eager  to  explain  how  it  all  happened.)     285 
Ere,  salue :  saluom  te  aduenisse  gaiideo.     DE.  (in  a  tone 

of  supreme  disgust)  Oh  ! 
Bone  custos,  salue  !  cdlumen  uero  f^miliae, 
Quoi  cdmmendaui  filium  hinc  abiens  meum ! 
GE.  lam  diidum  te  omnis  nds  accusare  audio 
Inmerito,  et  me  horunc  omnium  inmeritissumo.  290 

Nam  quid  me  in  hac  re  facere  uoluisti  tibi  ? 
Seruom  hdminem  causam  orare  leges  ndn  sinunt, 
Neque  testimoni  dictiost.     DE.  Mitto  dmnia. 
Do  istiic  '  inprudens  timuit  adulescens ' ;  sino 
•Tu  seruo's  ' ;  uerum  si  cognatast  maxume,  295 

Non  f  uit  necesse  habere ;  sed  id  quod  lex  iubet, 
Dotem  daretis,  quaereret  aliiim  uirum. 
Qua  ratione  inopem  pdtius  ducebat  domum  ? 
GE.  Non  ratio,  uerum  argentum  deerat.     DE.  Sumeret 
Alicvinde.     GE.  Alicunde  ?  nil  est  dictu  facilius.  300 

DE.  Postremo,  si  nullo  alio  pacto,  faenore.     GE.  Hui ! 


22  TEKENTI  [2.  3.  72- 

Dixisti  pulchre !  s^quidem  quisquam  crederet 

Te  uiuo.    DE.  (angrily]  Noii,  non  sic  futurumst :  ndn  potest. 

Egon  illain  cuin  illo  ut  patiar  nuptam  uniim  diem  ? 

Nil  suaue  meritumst.     hdminem  conmonstrarier  305 

Mi  istum  uolo,  aut  ubi  habitet  demonstrarier. 

GB.   NSmpe  Phdrmionem  ?     DE.    Istum  patronum  muli- 

eris. 
GE.  lam  faxo  hie  aderit.     DE.  Antipho  ubi  nunc  est  ? 

GE.  Foris. 
DE.  Abl,    Phaedria,    eum    require    atque    hue    adduce. 

PH.  Eo: 
Recta  uia  quidem  illuc.     (Exit,  with  a  sly  wink  cut  Geta.) 

GE.  (knowingly,  to  the  audience)  Nempe  ad  Pamphilam. 

(Exit  on  the  right,  chuckling.')  310 

DE.  Ego  deos  penatis  hinc  salutatiim  domum 
Deudrtar ;  inde  ibo  ad  forum  atque  aliqudd  mihi 
Amicos  aduocabo,  ad  hanc  rem  qui  adsient, 
Vt  ne  mparatus  sim,  si  ueniat  Phdrmio. 

(Exit  into  his  house.) 


3.  1. 9.j  PHORMIO.  23 


ACTVS   III. 

So.  1  [II,  2]. 

Greta  has  now  seen  Phonnio  and  informed  him  of  Demipho's 
return.  The  two  enter  from  the  market-place,  still  discussing 
the  matter.  Phormio  expresses  himself  as  eager  for  the  fray. 
—  The  scene  is  in  trochaic  septenarii  with  musical  accompani- 
nent.  See  Introd.,  p.  xxxvif. 

PHORMIO  GETA 

PH.    ftane  patris  ai's  aduentum  ueritum   hinc   abiisse  ? 

GE.  Admodum.  315 

PH.  Phanium  relictam  solam  ?    GB.  Sic.     PH.  Et  iratiim 

senem  ? 
GE.  6ppido.     PH.  (thoughtfully,  to  himself)  Ad  te  siimma 

solum,  Phormio,  rerum  redit: 

Tiite  hoc  intristi ;  tibi  omnest  exedendum ;  accmgere. 
GE.  6bsecro  te.     PH.  (too  much  absorbed  to  notice  Geta) 

Si  rogabit  —  (finishing  his  thought  in  silence.)    GE.  In 

te  spes  est.     PH.  (a  possible  difficulty  suddenly  occur- 
ring to  hitri)  ISccere ! 
Quid  si  reddet?     GE.  Tu  inpulisti.     PH.  (confidently  to 

himself,    having   perfected    his   plan)     Sic,    opinor. 

GE.  Siibueni.  320 

PH.  (to  Geta)  Cedo  senem :  iam  instriicta  sunt  mi  in  cdrde 

consilia  dmnia. 
GR  Quid  ages  ?     PH.  Quid  uis,  nisi  uti  maneat  Pha*nium 

atque  ex  crimine  hoc 
Antiphonem  eripiam  atque  in  me  omnem  iram  deriuem 

senis? 


24  TERENTI  [3.  1. 10- 

GE.    6,   uir   fortis   atque   amicu's.      uerum    hoc    saepe, 

Phdrmio, 
Vereor,  ne  istaec  fortitude  in  neruom  erumpat  denique. 

PH.   Ah,  325 

Ndn  itast.     factiimst  periclum,  iam  pedum  uisast  uia. 
Quod  me   censes   homines   iam   deuerberasse   usque   ad 

necem  — 

Hdspites,  turn  cmis  ?  quo  magls  ndui,  tanto  saepius. 
Cedo  dum,  enumquam  iniuriarum  audisti  mihi  scriptam 

dicam  ? 
GE.  Qui   istuc  ?      PH.  Quia  non  rete  accipitri  tennitur 

neque  miluo,  330 

Qui  male  faciunt  ndbis ;  illis  qui  nihil  faciunt  tennitur, 
Quia  enim  in  iilis  friictus  est,  in  illis  opera  liiditur. 
Aliis  aliunde  est  periclum,  unde  aliquid  abradi  potest ; 
Mihi  sciunt  nil  esse.     dices  '  ducent  damnatum  domum ' : 
Alere  nolunt  hdminem  edacem,  et  sapiunt  mea  senten- 

tia,  335 

Prd  maleficio  si  beneficium  siimmum  nolunt  reddere. 
GE.  Non  pot6st  satis  pro  merito  ab  illo  tibi  referri  gratia. 
PH.  f mmo  enim  nemo  satis  pro  merito  gratiam  regi  refert. 
Tene  asymboliim  uenire  unctum  atque  lautum  e  balineis, 
6tiosum  ab  animo,  quom  ille  et  cura  et  sumptu  absumi- 

tur!  340 

Diim  tibi  fit  quod  placeat,  ille  rmgitur.    tu  rideas, 
PriSr  bibas,  pridr  decumbas ;  cena  dubia  adpdnitur  — 
GE.  Quid  Istuc  uerbist  ?     PH.  Vbi  tu  dubites  quid  sumas 

potissumum. 
Haec  quom  rationem  ineas  quam  sint  suauia  et  quam  cara 

sint, 
Ea  qui  praebet,  ndn  tu  hunc  habeas  plane  praesentem 

deum?  345 


8. 2. 10.]  PHORMIO.  25 

GE.  (looking  down  the  street)  Sen6x  adest !  uidS  quid  agas : 

prima  cditiost  acerruma. 
Si  earn  sustinueris,  postilla  iam,  lit  lubet,  ludas  licet. 

(TJiey  step  aside  to  await  their  opportunity.) 


So.  2  [II,  3]. 

Demipho  has  secured  three  legal  advisers  to  help  him  in  his  present 
straits.  When  Demipho  gets  within  hearing,  Phormio  and  Geta, 
pretending  not  to  see  him,  indulge  in  a  clever  bit  of  acting  for 
his  benefit.  Dernipho  tries  to  overawe  and  corner  Phormio  by 
sharp  questioning,  but  he  finds  his  match.  He  finally  offers  to 
compromise,  but  without  avail,  and  he  is  left  in  a  furious  fit  of 
anger.  —  The  music  has  ceased,  and  there  ensues  a  dialogue  in 
iambic  senarii.  See  Introd.,  p.  xxxvi. 

[Demipho  enters  with  three  legal  advisers  from  the  Forum.'] 

DEMIPHO    HEGIO     CRATINVS     CRITO     PHORMIO   GETA 

DE.  (to  his  advisers)  Enumquam  quoiquam  cdntumelidsius 

Audistis  f actam  iniuriam,  quam  haec  est  mihi  ? 

Adeste  quaeso.     GE.  (aside  to  Phormio)  Iratus  est.     PH. 

(aside  to  Geta)  Quiti  tu  h<5c  age :  350 

Iam  ego  hunc  agitabo.     (Raising  his  voice,  to  Geta,  with 

pretended  indignation)  prd  deum  inmortalium ! 
Negat  Phanium  esse  hanc  sibi  cognatam  Demipho  ? 
Hanc  Demipho  negat  esse  cognatam  ?     GE.  Negat. 
PH.  Neque  ems  patrem  se  scire  qui  f  uerit  ?     GE.  Negat. 
DE.  (to  his  advisers,  attracted  by  the  loud  talking)  Ipsum 

esse  opinor  de  quo  agebam.    sequimini.  355 

[PH.   Nee    Stilphonem   ipsum    scire   qui   fuerit?      GE 

Negat.] 
PH.  Quia  egens  relictast  misera,  ignorattir  parens, 


26  TERENTI  [3. 2.  11- 

Neclegitur  ipsa.     uide  auaritia  quid  f acit ! 

GE.  (threatening)  Si  erum  insimulabis  malitiae,  male  aiidies. 

DE.  (aside,  angrily)  0  audaciam !  etiam  me  liltro  accusatum 

adusnit.  360 

PH.  (to  Geta)  Nam  iam  adulescenti  nihil  est  quod  sus- 

censeam, 

Si  ilium  minus  norat ;  quippe  homo  iam  grandior, 
Pauper,  quoi  in  opere  uita  erat,  ruri  fere 
Se  cdntinebat ;  ibi  agrum  de  nostrd  patre 
Colendum  habebat.     saepe  interea  mihi  senex  365 

Narrabat  se  hunc  neclegere  cognatum  suom. 
At  quern  uirum  !  quern  ego  uiderim  in  uita  optumum. 
GE.  Videas  te,  atque  ilium  [ut]  narras !     PH.  I  in  malarn 

crucem ! 

Nam  ni  eum  esse  existumassem,  numquam  tarn  grauis 
Ob  hanc  inimicitias  caperem  in  uostram  familiam,         370 
Quam  is  aspernatur  mine  tarn  inliberaliter. 
GE.  Pergin  ero  absenti  male  loqui,  inpurissume  ? 
PH.  Dignum  autem  hoc  illost.     GE.  Ain  tamen,  career  ? 

DE.  Geta! 
GE.  (to  Pliormio,  pretending  not  to  hear)  Bondrum  extortor, 

legum  contortdr  !     DE.  (raising  his  voice)  Geta ! 
PH.  (whispering  to  Geta)  Respdiide.     GE.  (turning  around) 

Quis  homost  ?  (pretending  astonishment)  eh6m  !     DE. 

(to  Geta)  Tace.     GE.  (to  Demipho)  Absenti  tibi       375 
Te  indignas  seque  digiias  contumelias 
Numquam  cessaiiit  dicere  hodie.     DE.  (to  Geta)  Desine. 
(to  Phormio)  Adulescens,  primum  abs  te  hdc  bona  uenia 

peto, 

Si  tibi  placere  pdtis  est,  mi  ut  respdndeas : 
Quern  amicum  tuom  ai's  fuisse  istum,  explana  mihi,       380 
Et  qui  cognatum  me  sibi  esse  diceret. 


3. 2. 56.]  PHORMIO.  27 

PH.  (with  curling  lip,  and   swaggering  manner)  Proinda 

expiscare  quasi  non  nosses.     DB.  Ndssem  ?     PH.  Ita. 
DE.  Ego  me  nego.     tu  qui  ai's  redige  in  memoriam. 
PH.  Eho  tu,  sobrinum  tudm  non  noras  ?     DE.  Ericas. 
"Oic  ndmen.    PH.  Nomen  ?  —  (hesitating)  maxume  —    DE. 

(with  a  sneer)  Quid  mine  taces  ?  385 

PH.  (in  confusion,  to  himself)  Perii  hercle,  nomen  per- 

clidi.     DE.  Quid  afs  ?     PH.  (aside)  Geta, 
Si  meministi  id  quod  olim  dictumst,  siibice.     (defiantly  to 

Demipho)  hem, 

Non  dico.     quasi  non  ndsses,  temptatum  aduenis. 
DE.  Ego  aiitem  tempto  ?     GE.  (prompting  him)    Stilpo. 

PH.  (condescendingly)  Atque  adeo  quid  mea  ? 
Stilpdst.      DE.    Quern   dixti  ?      PH.    Stiljponem   inquam 

ndueras.  390 

DE.  Neque  ego  Ilium  noram  neque  mi  cognatus  fuit 
Quisquam    istoc    nomine.      PH.    f tane  ?    non  te   horiim 

pudet  ? 

At  si  talentum  rem  reliquisset  decem 
DE.  Di  tibi  malefaciant !     PH.  primus  esses  memoriter 
Progeniem  uostram  usque  ab  auo  atque  atauo  prof erens.  395 
DE.  Ita  ut  dicis.    ego  turn  quom  aduenissem,  qui  mihi 
Cognata  ea  esset,  dicerem :  itidem  tu  face. 
Oedo  qui  est  cognata?     GE.  (with  pretended  satisfaction, 

to  Demipho)  Eu,  ndster,  recte.     (Aside  to  Phormio) 

heus  tu,  caue. 

PH.  Dilucide  expediui  quibus  me  oportuit 
ludicibus.     turn  id  si  falsum  fuerat,  filius  400 

Quor  n6n  refellit  ?     DE.  Filium  narras  mihi  ? 
Quoins  de  stultitia  dici  ut  dignumst  n6n  potest. 
PH.  (with  mock  deference)  At  tu  qui   sapiens   es   magi- 
stratus  adi, 


28  TERENTI  [3.  2. 57- 

ludicium  de  eadem  caiisa  iterum  ut  reddant  tibi, 

Quanddquidem  solus  regnas  et  soli  licet  405 

Hie  de  eadem  causa  bis  iudicium  apiscier. 

DE.  Etsi  mihi  facta  iniuriast,  ueriim  tamen 

Potiiis  quam  litis  secter  aut  quam  te  aiidiam, 

Itidem  ut  cognata  si  sit,  id  quod  lex  iubet 

Dotis  dare,  abduc  hanc,  minas  quinque  accipe.  410 

PH.  Hahahae,  homo  suaui's.    DE.  Quid  6st  ?  num  iniquom 

pdstulo  ? 

An  ne  hoc  quidem  ego  adipiscar,  quod  ius  publicumst  ? 
PH.  Itan  tandem,  quaeso,  item  lit  meretricem  ubi  abusus 

sis, 

Mercedem  dare  lex  iiibet  ei'  atque  amittere  ? 
An,  tit  ne  quid  turpe  ciuis  in  se  admitteret  415 

Propter  egestatem,  prdxumo  iussast  dari, 
Vt  cum  lino  aetatem  degeret  ?  quod  tu  uetas. 
DE.  Ita,  proxumo  quidem ;   at  nos  unde  ?  aut  quam  6b 

rem?     PH.  Ohe, 
^Actum'  aiunt  <nS  agas.'     DE.  Ndn  agam?  (shaking  his 

finger  at  Phormid)  immo  haud  desinam, 
Donee  perfecero  hdc.     PH.  Ineptis.     DE.  Sine  modo.  420 
PH.  Postremo  tecum  nil  rei  nobis,  Demipho,  est. 
Tuos  est  damnatus  gnatus,  non  tu ;  nam  tua 
Praeterierat  iam  diicendi  aetas.     DE.  6mnia  haec 
Illiim  putato,  quae  ego  nunc  dico,  dicere ; 
Aut  quidem  cum  uxore  hac  ipsum  prohibebd  domo.       425 
QE.  (aside)  Iratus  est.     PH.  Tu  t6  idem  melius  feceris. 
DE.  Itan  es  paratus  facere  me  aduorsum  dmnia, 
Infelix  ?     PH.  (aside  to  Getd)  Metuit  hie  nos,  tarn  etsi 

sedulo 
Dissimulat.     GE.   (aside  to  Pliormio)  Bene   habent   tibi 

principia.     PH.  (to  Demipho)  Quin  quod  est 


3. 3. 4.]  PHORMIO.  29 

Feriindum  fers  ?  tuis  dignum  factis  feceris  430 

Vt  amici  inter  nos  simus.     DE.  Egon  tuam  expetam 

Amicitiam  ?  aut  te  uisum  aut  auditum  uelim  ? 

PH.  Si  cdncordabis  cum  ilia,  habebis  quae  tuam 

Sengctutem  oblectet.     respice  aetatem  tuam. 

DE.    Te   oblectet,   tibi    habe.      PH.    Minue    uero    iram. 

DE.  Hoc  age:  435 

Satis  iam  uerborumst :  nisi  tu  properas  mulierem 
Abdiicere,  ego  illam  eiciam.     (warningly)  dixi,  Phdrmio. 
PH.  (aping  Demiphds  manner)  Si  tu  illam  attigeris  secus 

quam  dignumst  liberam, 

Dicam  tibi  Inpingam  grandem.     dixi,  Demipho. 
(to  Geta)  Si  quid  opus  fuerit,  heiis,  domo  me.     OB.  In- 

tellego.  440 

(Exit  Phormio,  while  Demipho  walks  to  and  fro,  beside 

himself  with  rage.} 

Sc.  3  [II,  4]. 

Demipho  consults  with  his  lawyers.  Each  lawyer's  advice  to  him 
is  as  different  as  possible  from  that  of  the  others.  Demipho, 
bowing  profoundly  before  their  superior  wisdom,  is  left  wonder- 
ing what  in  the  world  he  had  better  do  about  it.  The  deference 
shown  by  each  lawyer  to  the  opinion  of  his  brother  lawyers  adds 
to  the  humor  of  the  scene. — The  iambic  senarii  continue  through 
this  scene. 

DEMIPHO      GETA     HEGIO      CRATINVS     CBITO 

DE.  (soliloquizing)  Quanta  me  cura  et  sollicitudine  a"dficit 
Gnatus,  qui  me  et  se  hisce  inpediuit  nuptiis ! 
Neque  mi  in  conspectum  prddit,  ut  saltern  sciam, 
Quid  de  ea  re  dicat  quidue  sit  sententiae. 


30  TERENTI  [3.  3.  5- 

(turning  to  Geta)  Abl,  uise  redieritne  iam  an  non  diim 

domum.  445 

GE.  E6.     (Exit  into  Demipho's  house.')     DE.  (to  his  advis- 
ers) Videtis  quo  in  loco  res  haec  siet. 
Quid  ago?  die,  Hegio.     HE.  Ego?  (bowing  politely  toicard 

Cratinus)  Cratinum  censeo  — 

Si  tibi  uidetur.     DE.  Die,  Cratine.     CRA.  Mene  uis  ? 
DE.   Te.     CRA.   Ego  quae  in   rein  tuam  sint   ea  uelim 

facias,     mihi 

Sic  hoc  uidetur :  quod  te  absente  hie  filius  450 

Egit,  restitui  in  integrum  aequomst  et  bonum, 
Et  id  impetrabis.     dixi.     DE.  Die  mine,  Hegio. 
HE.  Ego  sedulo  hunc  (bowing  again)  dixisse  credo ;  uerum 

itast, 

Quod  homines  tot  sententiae :  suos  quoique  mos. 
Mihi  non  uidetur  quod  sit  factum  legibus,  455 

Eescindi  posse ;  et  turpe  inceptust.     DE.  Die,  Crito. 
CRI.  Ego  amplius  deliberandum  censeo. 
(with  an  air  of  wisdom)  Res  magnast.      HE.  Num  quid 

nds  uis  ?     DE.  (as  his  advisers  leave  the  stage)  Fecistis 

probe. 
(to  himself,  after  long  silence)  Incertior  sum  multo  quam 

dudum.     GE.  (entering  from  Demipho's  house)  Ne- 

gant 

Redisse.     DE.  Frater  est  expectandiis  mihi :  460 

Is  quod  mihi  dederit  de  hac  re  consilium,  id  sequar. 
Percdntatum  ibo  ad  portuin,  quoad  se  recipiat. 

(Exit  toward  the  left.) 
GE.  At  ego  Antiphonem  quaeram,  ut  quae  acta  hie  sint 

sciat. 
Sed  6ccum  ipsum  uideo  in  tempore  hue  se  recipere. 


3. 4.  13.]  PHORMIO.  31 

Sc.  4  [III,  1]. 

Antipho  blames  himself  for  his  cowardly  flight,  but  he  finds  that 
his  interests  have  not  been  entirely  neglected. —  This  scene  is  of 
a  lyrical  character  throughout,  in  varying  rhythm,  and  sung  to 
the  accompaniment  of  the  flute.  See  Introd.,  p.  xxxvi  f. 

[Antipho  enters  from  the  right."] 
ANTIPHO  GET  A 

AN.  (soliloquizing,  with  bowed  head)  l£nlm  uero,  Antiphd, 

multimodis  cum  istoc  animo  es  uituperandus.  465 
ftane  te  hinc  abisse  et  uitam  tuam  tutandam  aliis  dedisse  ! 
A"  lios  tuam  rem  credidisti  magls  quam  tete  animum  aduor- 

suros  ? 
Nam  ut  ut  erant  alia,  illi  certe  quae  nunc  tibi  domist  con- 

suleres, 

Ne  quid  propter  tuam  fidem  decepta  poteretur  mali ; 
Quoi  nunc  miserae  spes  opesque  siint  in  te  uno  omnes 

sitae.  470 

GE.  Et  quidem,  ere,  nos  iam  dudum  hie  te  absentem  mcu- 

samus,  qui  abieris. 
AN.  (looking  up,  at  the  interruption)  Te  ipsum  quaerebam. 

GE.  Sed  ea  causa  nihilo  magls  defecimus. 
AN.  Loquere,  obsecro,  quo  nam  in  loco  sunt  res  et  fortunae 

meae? 
Num  quid  patri  subolet  ?     GE.  Nil  etiam.     AN.  Ecquid 

spei  porrost  ?     GE.  Nescio.     AN.  Ah  ! 
GE.  Nisi  Phaedria  haud  cessauit  pro  te  eniti.     AN.  Nil 

fecit  noui.  475 

GE.  Turn  Phdrmio  itidem  in  hac  re  ut  [in]  aliis  strenuom 

hominem  praebuit. 
AN.    Quid  Is   fecit?     GE.  Confutauit  uerbis  admodum 

iratiim  senem. 


32  TERENTI  [3. 4. 14- 

AN.  Eu,  Phdrmio !  GE.  Ego  quod  pdtui  porro.  AN.  (greatly 

moved)  Mi  Geta,  omnis  uds  amo. 
GB.  Sic  habent  principia  sese  ut  dixi.     adhuc  tranquilla 

res  est, 
3Iansurusque    patruom    pater    est,   dum  hue    adueniat 

AN.  Quid  eum  ?     GE.  Vt  aibat  480 

De  eius  consilio  sese  uelle  f acere  quod  ad  hanc  rem  attinet. 
AN.  Quantum   metm'st   mihi,   uidere   hue    saluom   nunc 

patruom,  Geta! 
Nam  per  eius  unam,  ut  audio,  aut  uiuam  aut  moriar  sen- 

tentiam. 
GE.    (as  Phaedria  comes  out  of  Dorio1  s  house)  Phaedria 

tibi  adest.     AN.  Vbi  nam  ?     GE.  Eccum  ab  sua  (with 

a  sly  winJc)  palaestra  exit  foras. 

So.  5  [III,  2]. 

Phaedria  begs  Dorio,  the  owner  of  Pamphila,  to  give  him  more 
time  to  collect  the  money  with  which  to  buy  her.  Dorio  tells 
him  he  is  tired  of  his  whimpering,  and  that  his  motto  is  "  first 
come,  first  served,"  provided  the  money  comes  too. —  The  music 
continues  throughout  the  scene.  The  lyrical  part,  here  intro- 
duced by  a  trochaic  binarius  catalectic,  instead  of  a  trochaic 
octonarius,  as  elsewhere  in  the  play,  extends  with  varying 
rhythm  to  vs.  503.  With  the  entrance  of  Antipho  into  the  con- 
versation begins  a  series  of  trochaic  septenarii,  which  continues 
throughout  the  rest  of  the  scene.  See  In  trod.,  p.  xxxvi  f. 

\Dorio  enters,  followed  by  Phaedria,  the  latter  in  great 
agitation.] 

PHAEDRIA      DORIO      ANTIPHO       GETA 

PH.  (beseechingly)  Dorio,  485 

Audi  obsecro.     DO.  (walking  impatiently  away)  Non  audio. 

PH.  Parumper.     (Laying   his  hand   upon  his  arm.) 


3. 5.  18.]  PHORMIO.  33 

DO.  (savagely)  Quin  omitte  me. 

PH.  Audi  quod  dicam.     DO.  A.t  enim  taedet  iam  audire 

eadem  miliens. 
PH.  At  nunc  dicam  qudd  lubenter  aiidias.     DO.  (turning 

sharply)  Loquere,  audio. 
PH.  Ndn  queo  te  exorare  ut  maneas  triduom  hoc  ?     (Dorio 

tcalks  off  again)  quo  niinc  abis  ? 
DO.  Mirabar  si  tu  mihi  quicquam  adferre's  noui.     AN. 

(aside  to  Geta)  Ei,  490 

Metud  lenonem  ne  quid —    QE.  suo  sua"t  capiti?   idem 

ego  uereor. 
PH.  Non   dum   mihi  credis  ?     DO.  Ha"riolare. ,  PH.   Sin 

fidem  do  ?     DO.  Fibulae. 
PH.  Faeneratum  istiic  beneficium  piilchre  tibi  dices.     DO- 

Logi. 
PH.  Crede  mihi,  gaudebis  facto:  u^rum  hercle  hoc  est. 

DO.  Somnia. 
PH.  fixperire :  ndn  est  longum.     DO.  Cantilenam  eandem 

canis.  495 

PH.  Tu  mihi  cognatus,  tu  parens,  tu  amicus,  tu —    DO. 

Garri  modo. 

PH.  Adeon  ingenio  esse  duro  te  atque  inexorabili, 
"^t  neque  misericdrdia  neque  precibiis  molliri  queas  ! 
DO.  (imitating  Phaedria's  tone)  Adeon  te  esse  incdgitantem 

atque  inpudentem,  Phaedria, 
Vt    phaleratis     diicas    dictis     [me]    et    meam    ductes 

gratiis  !  500 

AN.  (aside  to  Geta)  Miseritumst.     PH.  (to  himself)  Ei, 

ueris  uincor  !     GE.  (aside  to  Antipho)  Quam  uterque 

est  similis  sxii ! 
PH.  (to  himself}  Neque  Antipho  alia  quom  dccupatus  esset 

sollicitudine, 


34  TERENTI  [3. 5.  1^ 

Turn  hoc  esse  mi  obiectiim  malum !     AN.  (coming  for- 
ward) Quid  istiic  est  autem,  Phaedria  ? 
PH.  6  fortunatissume  Antipho.     AN.  iSgone  ?     PH.  Quoi 

quod  amas  domist, 
Neque    cum   huius    modi   umquam   lisus   uenit  lit   con- 

flictares  malo.  505 

AN.  Mihin  doinist  ?  immo,  id  quod  aiunt,  aiiribus  teneo 

lupum.  * 

[Nain  neque  quo  pacto  a  me  amittam  neque  uti  retineam 

scio.] 
DO.  fpsum  istuc  mi  in  lidc  est.     AN.  (to  Dorio)  Heia,  ne 

parum  lend  sies. 
(to  Phaedria)  Num  quid  hie  conf  ecit  ?    PH.  Hicine  ?  quod 

homo  inhumamssumus : 
Pamphilam  meam  uendidit.     AN.  Quid  ?  uendidit  ?    GE. 

Ain?  uendidit?  510 

PH.  Vendidit.    DO.  (with  a  sneer)  Quam  indignum  facinus, 

ancillam  aere  emptam  meo  ! 
PH.  Nequeo  exorare  lit  me  maneat  et  cum  illo  ut  mutet 

fidem 
Triduom  hoc,  dum  id  quod  6st  promissum  ab  amicis  argen- 

tum  aiifero. 
(turning  to  Dorio)  Si  non  turn  dedero,  linam  praeterea 

horam  ne  oppertiis  sies. 
DO.  Obtundes  ?     AN.  (to  Dorio)  Haud  Idngumst  id  quod 

drat :  exoret  sine.  515 

t  dem  hie  tibi,  quod  bdnl  promeritus  fueris,  conduplic^uerit. 
DO.  Verba  istaec   sunt.      AN.    Pamphilamne   hac   lirbe 

priuari  sines  ? 

Turn  praeterea  horiinc  amorem  distrahi  poterm  pati  ? 
DO.  Neque  ego  neque  tu.     PH.  (to  Dorio)  Di  tibi  omnes 

Id  quod  es  digniis  duint ! 


3. 5. 49.]  PHORMIO.  35 

DO.  (to  Phaedria)  l£go  te  compluris  aduorsum  ingenium 

meum  mensis  tuli,  520 

Pdllicitantem  et  nil  f  erentem,  flentem ;  nunc,  contra  6mnia 

haec, 

Repperi  qui  det  neque  lacrumet :  da  locum  melidribus. 
AN.  (to  Phaedria)  Certe  hercle,  ego  si  satis  commemini, 

tibi  quidemst  olim  dies, 
Quam  ad  dares  huic,  praestituta.    PH.  Factum.    DO.  Num. 

ego  istiic  nego  ? 
AN.     lam  ea  praeteriit  ?     DO.  N6n,  uerum  haec  e'i  ante- 

cessit.     AN.  Non  pudet  525 

Vanitatis  ?     DO.  Minume,  dum  ob  rem.     QE.  (to  Dorid) 

Sterculinum !     PH.  Dorio, 
Itane  tandem  facere  oportet?    DO.  Sic  sum;  si  placeo, 

utere. 
AN.  Sic  hunc  decipis  ?     DO.  Immo  enim  uero,  Antipho, 

hie  me  decipit ; 
Nam  hie  me  hums  modi  scibat  esse,  ego  hiinc  esse  aliter 

credidi ; 

Iste  me  fefellit,  ego  isti  nihilo  sum  aliter  ac  fui.  530 

Sed  ut  ut  haec  sunt,  tamen  hoc  faciam :  eras  mane  argen- 

tum  mihi 

Miles  dare  se  dixit ;  si  mihi  priSr  tu  attuleris,  Phaedria, 
Mea  lege  utar,  ut  potior  sit,  qui  prior  ad  dandumst.     uale. 
(Exit,  while  Phaedria  looks  helplessly  after  him. 


36  TBRENTI  [3. 6. 1- 

Sc.  6  [III,  3]. 

Phaedria  is  completely  disheartened,  but  he  finds  friends  ready  to 
help  him.  —  The  trochaic  septenarii,  with  musical  accompani- 
ment, continue  through  this  scene.  See  Introd.,  p.  xxxvi  f. 

PHAEDRIA  ANTIPHO  GETA 

PH.  Quid  faciam  ?  unde  ego  mine  tarn  subito  huic  argen- 

tum  inueniam  miser, 

Quoi  minus  nihildst  ?  quod,  hTc  si  pote  fuisset  exorarier  535 
Triduom  hoc,  promfssum  fuerat.     AN.    ftane  hunc  patie- 

miir,  Geta, 
Fieri  miserum,  qui  me  dudum,  ut  dixti,  adiuerit  cdmi- 

ter? 
Quin  quom  opust,  beneficium  rursum  e'i  experiemur  red- 

dere? 
GE.   Scio   equidem  hoc  esse   aequom.      AN.  Age   ergo 

(slapping    Geta    encouragingly    on    the    bacJc),    solus 

seruare  hunc  potes. 
GE.  Quid  faciam  ?     AN.  Inuenias  argentum.     GE.  Cupio ; 

sed  id  unde,  edoce.  540 

AN.  Pater  adest  hie.    GE.  Scio ;  sed  quid  turn  ?    AN.  Ah, 

dictum  sapient!  sat  est. 
GE.  ftane  ?     AN.  Ita.     GE.  Sane  hercle  pulchre  suades. 

etiam  tu  hmc  abis  ? 

N6n  triumpho,  ex  niiptiis  tuis  si  nil  nanciscdr  mali, 
Ni  etiam  nunc  me  huius  causa  quaerere  in  malo  iubeas 

crucem  ? 
AN.  Verum  hie  dicit.     PH.  Quid  ?  ego  uobis,  Geta,  alienus 

sum  ?     GE.  Haiid  puto ;  545 

Sed  parumne  est,  quod  dninibus  nunc  ndbis  suscenset 

senex, 


3. 6. 29.]  PHORMIO.  37 

Ni  instigemus  etiam,  ut  nullus  locus  relinquatur  preci  ? 
PH.   JLlius   ab   oculis   meis   illam    in    ignotum    abducet 

locum  ?  (sentimentally,  with  clasped  hands)  hem ! 
Turn  igitur,  dum  licet  dumqne  adsum,  Idquimini  mecum, 

Antipho, 
Cdntemplamini  me.     AN.  Quam  ob  rem  ?  aut  quid  nam 

facturu's  ?  cedo.  550 

PH.  Qudquo  hinc  asportabitur  terrarum,  certumst  perse- 

qui 
Aiit  perire.    GE.  Di  bene  uortant  qudd  agas !  pedetemptim 

tamen. 
AN.  Vid8  si  quid  opis  pdtes  adf  erre  huic.    GE.  '  Si  quid '  ? 

quid  ?     AN.  Quaere,  obsecro, 
Ne    quid    plus    minusue   faxit,   qudd  nos   post   pigeat, 

Geta.  ^..  .•' 

GE.  Quaero.   (After  reflection)  saluos  ^st,  ut  opinor ;  uerum 

enim  metud  malum.  555 

AN.  Noli  metuere ;  una  tecum  bdna  mala  tolerabimus. 
GE.  Quantum  opus  est  tibi  Srgenti,  loquere.     PH.  Sdlae 

triginta  minae. 

GE.  Triginta  ?  hui !  percarast,  Phaedria. 
PH.  (indignantly)  Istaec  uero  uilis  est. 
GE.  ^.ge  age,  inuentas  reddam.     PH.  (with  sudden  delight, 

grabbing    hold    of  Geta)    0   lepidum!      GE.    (good- 
naturedly  shaking  him  ojf)  Aufer  te  hinc.     PH.  lam 

opust.     GE.  lam  feres. 
Sed  opus  est  mihi  Phdrmionem  ad  hanc  rem  adiutorem 

dari.  560 

AN.  Praestost:    audacissume   oneris   quiduis   inpone   ef 

—  f eret ; 
$dlus  est  homo  arnico  amicus.     GE.  Eamus  ergo  ad  eum 

dcius. 


38  TERENTI  [3. 6. 30- 

AN.  Num  quid  6st  quod  opera*  mea  uobis  dpus  sit? 
GE.  Nil ;  uerum  abl  domum 

fit  Illam  miseram,  quam  ego  nunc  intus  scio  6sse  exani- 
matam  metu, 

Cdnsolare.     cessas  ?     AN.  Nihil  est  aeque  quod  faciam 

lubens.  565 

(Exit  into  DemipJw's  house.) 

PH.  Qua  uia  istuc  facies  ?  GE.  Dicam  in  itinere :  hinc 
modo  te  arnoue. 

(Exeunt  Phaedria  and  Geta,  arm  in  arm,  in  animated  con- 
versation.') 


4. 1.  16.]  PHOKMIO,  39 


ACTVS  IV. 

Sc.  1. 

Chremes  has  just  landed  and  heard  the  startling  news  of  what  has 
happened.  He  and  Demipho  are  now  on  their  way  back  from 
the  harbor.  —  The  music  has  ceased,  and  with  the  dialogue  be- 
tween the  two  old  men,  begins  a  series  of  iambic  senarii,  which 
continue  as  far  as  vs.  712.  See  Introd.,  p.  xxxvi  f. 

[Demipho  and  Chremes  enter  from  the  left."] 
DEMIPHO  CHREMES 

DE.  Quid  ?  qua  profectus  causa  hinc  es  Lemnum,  Chremes, 

Addiixtin  tecum  filiam  ?     CH.  Non.     DE.  Quid  ita  non  ? 

CH.  Postquam  uidet  me  eius  mater  esse  hie  dmtius, 

Simul  aiitem  non  manebat  aetas  uirginis  670 

Meam  neclegentiam,  ipsam  cum  omni  familia 

Ad  me  profectam  esse  aibant.     DE.  Quid  Illi  tarn  diu 

Quaeso  igitur  commorabare,  ubi  id  audieras  ? 

CH.  (not  caring  to  tell  the  truth)  Pol  me  detinuit  mdrbus. 

DE.  Vnde  ?  aut  qui  ?     CH.  Eogas  ? 

(evasively  )  Senectus  ipsast  morbus.     sed  uenisse  eas    575 
Saluas  audiui  ex  nauta  qui  illas  uexerat. 
DE.  Quid  gna'to  obtigerit  me  absente,  audisti,  Chremes  ? 
CH.  Quod  quid8m  me  factum  cdnsili  incertum  facit. 
Nam  (lowering  his  voice)  hanc  cdndicionem  si  quoi  tulero 

extrario, 

Quo  pacto  aut  unde  mihi  sit  dicundum  drdine  est.          580 
Te  mihi  fidelem  esse  aeque  atque  egomet  sum  mihi 
Scibam.     ille  si  me  alienus  adfinem  uolet, 


40  TERENTI  [4.  1.  1£ 

Tacebit,  dum  intercedet  f amiliaritas ; 
Sin  spreuerit  me,  plus  quam  opus  est  scitd  sciet. 
Veredrque  (eying  the  door  of  his  house)  ne  uxor  aliqua  hoc 
resciscat  mea.  585 

Quod  si  fit,  ut  me  excutiam  atque  egrediar  domo, 
Id  restat ;  nam  ego  medrum  solus  sum  meus. 
DE.  Scio  ita  esse,  et  istaec  mihi  res  sollicitudinist, 
Neque  defetiscar  usque  adeo  experirier, 
Donee  tibi  id  quod  pdllicitus  sum  effecero.  590 

So.  2. 

Geta  expresses  his  admiration  for  the  cleverness  of  Phormio.  The 
two  have  concocted  a  scheme.  —  For  the  metre  see  remarks  at 
the  beginning  of  Act  IV,  Sc.  1. 

[Geta  enters  from  the  right  and  does  not  at  first  see  the  old 

men."] 

GETA  DEMIPHO  CHREMES 

GE.  (with  great  satisfaction)  Ego  hdminem  callididrem  uidi 

neminem 

Quam  Phdrmionem.     uenio  ad  hominem,  ut  dicerem 
Argentum  opus  esse  et  id  quo  pacto  fieret. 
Vix  dum  dimidium  dixeram,  intellexerat ; 
Gaudebat,  me  laudabat,  quaerebat  senem.  595 

Dis  gratias  agebat,  tempus  sibi  dari, 
Vbi  Phaedriae  esse  ostenderet  nild  minus 
Amicum  sese  quam  Antiphoni.     hominem  ad  forum 
lussi  dpperiri :  eo  me  esse  adducturum  senem. 
(Seeing  Demipho.)    Sed  6ccum  ipsum.     quis  6st  ulterior  ? 

(startled,  as  he  recognizes  Chremes)  attat !  Phaedriae  600 


*.  3. 8.J  PHORMIO.  41 

Pat6r  uenit.     (Regaining  his  composure)  sed  quid  pe*rtimui 

autem  belua  ? 

An  quia  quos  fallam  pro  uno  duo  sunt  mi  dati  ? 
Commddius  esse  opinor  duplici  spe  utier. 
Petam  hinc  unde  a  primo  mstiti.     is  si  dat,  sat  est ; 
Si  ab  e6  nil  net,  turn  hunc  adoriar  hdspitem.  606 

'4vO 

Sc.  3. 

Geta  proceeds  to  put  into  execution  the  scheme  they  have  decided 
upon.  He  pretends  to  have  been  laboring  with  Phormio  in  the 
interest  of  Demipho  and  Chremes,  and  that  Phormio  expresses 
himself  as  willing  to  withdraw  from  his  position  for  suitable 
remuneration.  Demipho  is  wild  with  rage  when  he  learns  the 
amount  demanded,  but  Chremes  offers  to  help  by  using  his  wife's 
money,  and  the  bargain  is  completed.  —  For  the  metre,  see  re- 
marks at  the  beginning  of  Act  IV,  Sc.  1. 

[Antipho  enters,  unseen,  from  Demipho's  house."] 
ANTIPHO          GETA          CHREMES          DEMIPHO 

AN.  Expecto  quam  mox  recipiat  sese  Geta. 

(Seeing  the  others')  Sed  patruom  uideo  cum  patre  astantem. 

ei  mihi, 

Quam  timeo,  aduentus  hiiius  quo  inpellat  patrem ! 
GB.  Adibo   [hosce] :    (rushing  up   to    Cliremes)  o   salue, 

ndster  Chremes.     CH.  Salue,  Geta. 
GB.  Venire   saluom   udlup   est.     CH.   Credo.     GE.  Quid 

agitur  ?  cio 

CH.  Multa  aduenienti,  ut  fit,  noua  hie  —  compluria. 
GE.  Ita.    de  Anti  phone  audfstin  quae  facta  ?    CH.  Crania. 
GE.  (to  Demipho')  Tun  dixeras  huic  ?  facinus  indignum, 

Chremes, 


42  TERENTI  [4. 3. 9- 

Sic  circumiri !     CH.  Id  cum  hdc  agebam  cdmmodum. 
GE.  Nam  hercle  ego  quoque  id  quidem  agitans  mecum 

sedulo  615 

Inueni,  opinor,  remedium  huic  rei.     CH.  Quii  Geta  ? 
DE.   Quod  remedium?      GE.  Vt  abii  abs  te,  fit  forte 

dbuiam 
Mihi  Phdrmio.     CH.  Qui  Phdrmio  ?     DE.  Is  qui  istanc  — 

CH.  Scio. 

GE.  Visiimst  mi,  ut  eius  temptarem  sententiam. 
Prendo   hdminem   solum :    '  qudr  non,'   inquam,    '  Phdr- 

mio,  620 

Vides,  inter  nos  sic  haec  potius  ciim  bona 
Vt  componamus  gratia  quam  cum  mala  ? 
Erus  liberalis  est  et  fugitans  litium ; 
Nam  ceteri  quidem  hercle  amici  omnes  modo 
Vno  6re  auctores  fuere,  ut  praecipitem  hanc  daret.'       625 
AN.  (aside)   Quid   hie   coeptat   aut   quo   euadet   hodie  ? 

GE.  '  An  legibus 

Datiirum  poenas  dices,  si  illam  eiecerit  ? 
lam  id  exploratumst.     heia,  sudabis  satis, 
Si  cum  illo  inceptas  hdmine :  ea  eloquentiast. 
Veriim  pono  esse  uictum  eum ;  at  tandem  tamen  630 

Non  capitis  ei  res  agitur,  sed  peciiniae.' 
Postquam  hdminem  his  uerbis  sentio  mollirier, 
'  Soli  sumus  nunc  hie '  inquam  :  '  eho,  die  quid  uis  dari 
Tibi  in  manum,  ut  erus  his  desistat  litibus, 
Haec  hinc  facessat,  tii  molestus  ne  sies  ? '  635 

AN.   (aside,    bewildered)    Satin    illi    di    sunt    prdpitii? 

GE.  'Nam  sat  scio, 

Si  tu  aliquam  partem  aequi  bonique  dixeris, 
Vt  6st  ille  bonus  uir,  tria  non  commutabitis 
Verba  hddie  inter  uos.'  DE.  Quis  te  istaec  iussit  loqui  ? 


4. 3. 62.]  PHORMIO.  43 

CH.  Immd  non  potuit  melius  peruenirier  640 

Eo  qu6  nos  uolumus.    AN.  (aside)  Occidi !     DE.  Perge 

eloqui. 

GE.  A  primo  homo  insanibat.     CH.  Cedo  quid  pdstulat  ? 
GE.  Quid  ?  nimium  quantum.     CH.  Qudntum  ?  die.     GE. 

Si  quis  daret 
Talentum   magnum.      DE.    (amazed  at   such  impudence') 

Imm6  malum  hercle !  ut  nil  pudet ! 

GE.  Quod  dixi  adeo  e'i :  '  quaeso,  quid  si  f  iliam  645 

Suam  unicam  locaret  ?  parui  re  tulit 
Non  suscepisse.    inuentast  quae  dotem  petat.' 
Vt  ad  paiica  redeam  ac  mittam  illius  ineptias, 
Haec  denique  eius  f  uit  postrema  oratio  : 
'  Ego '  inquit (  a  principio  amici  f  iliam,  6BO 

Ita  ut  aequom  fuerat,  uolui  uxorem  diicere ; 
Nam  mihi  uenibat  in  mentem  eius  incommodum, 
In  seruitutem  paiiperem  ad  ditem  dari. 
Sed  mi  dpus  erat,  ut  aperte  tibi  nunc  fabuler, 
Aliquantulum  quae  adferret,  qui  dissdluerem  665 

Quae  debeo ;  et  etiam  nunc,  si  uolt  Demipho 
Dare  quantum  ab  hac  accipio,  quae  sponsast  mihi, 
Nullam  mihi  malim  quam  istanc  uxorem  dari.' 
AN.  (aside)  Vtrum  stultitia  facere  ego  hunc  an  malitia 
Dicam,  scientem  an  inprudentem,  incertus  sum.  660 

DE.  Quid  si  animam  debet?      GE.   'Ager  oppositus   pi- 

gnori 

Ob  dec6m  minas  est.'     DE.  Age  age,  iam  ducat :  dabo. 
GE.  '  Aediculae  item  sunt  db  decem  alias.'     DE.  Oie'i ! 
Nimiiimst.     CH.  Ne  clama :  r^petito  hasce  a  me  decem. 
GE.  '  Vx6ri  emunda  ancillulast ;  turn  pluscula  665 

Supgllectile  opus  est;  opus  est  sumptu  ad  nuptias; 
His  rebus  sane  pdrro  pone '  inquit  '  decem.' 


44  TEEENTI  [4. 3. 63- 

DE.  (in  anger  and  disgust)  Sescentas  proinde  scribito  iam 

mihi  dicas  ! 

Nil  do.     inpuratus  me  file  ut  etiam  inrideat  ? 
CH.  Quaeso,  ego  dabo,  quiesce :  tu  modo  filium  670 

Fac  ut  fllam  ducat,  n6s  quam  uolumus.     AN.  (wildly)  Ei 

mihi ! 

Geta,  dccidisti  me  tuis  fallaciis. 
CH.  Mea  causa  ei'citur ;  me  hoc  est  aequom  amittere. 
GE.  '  Quantum  potest  me  certiorem '  inquit  '  face, 
Si  illam  dant,  hanc  ut  mittam,  ne  incertus  siem ;  675 

Nam  illi  mihi  dotem  iam  constitueriint  dare.' 
CH.  Iam  accipiat ;  illis  repudium  renuntiet ; 
Hanc  ducat.  DE.  (sullenly)  Quae  quidem  illi  res  uortat 

male! 

CH.  Opportune  adeo  argentum  nunc  mecum  attuli, 
Fructiim  quern  Lemni  uxoris  reddunt  praedia :  680 

Inde  sumam ;  uxori  tibi  opus  esse  dixero. 

(Exeunt  Demipho  and  Chremes  into  the  latter1  s  house.) 

So.  4. 

Antipho,  astounded  at  what  he  supposes  to  be  Geta's  treachery, 
demands  an  explanation  and  gets  it.  —  For  the  metre,  see  re- 
marks at  the  beginning  of  Act  IV,  Sc.  1. 

ANTIPHO  GETA 

AN.  (fairly  beside  himself}  Geta !     GE.  Hem.     AN.  Quid 

egisti?     GE.  ICmunxi  argentd  senes. 
AN.  Satin   est   id  ?     GE.   (purposely  misinterpreting  the 

question)  Nescio  hercle  :  tantum  iiissus  sum. 
AN.  Eho  (striking  him),  uerbero !  aliud  mihi  respondes  ac 

rogo? 


4. 4. 31.]  PHORMIO.  45 

GE.  Quid  e*rgo  narras  ?  AN.  Quid  ego  narrem  ?  opera 
tua  685 

Ad  restim  mini  quidem  res  redlt  planissume. 

Vt  te  quidem  omnes  di  deae,  superi  inferi 

Malis  exemplis  perdant !  (looking  for  a  moment  toward  the 
audience)  em !  si  quid  uelis, 

Huic  ma"ndes,  qui  te  ad  scdpulum  e  tranquillo  auferat. 

Quid  minus  utibile  fuit  quam  hoc  ulcus  tangere  690 

Aut  ndminare  uxdrem  ?  iniectast  spes  patri 

Posse  illam  extrudi.     cedo  nunc  porro :  Phdrmio 

Dotem  si  accipiet,  uxor  ducendast  domum. 

Quid  fiet  ?  GE.  (shortly)  Non  enlm  diicet.  AN.  (sarcas- 
tically') Noui.  ceterum 

Quom  argeutum  repetent,  ndstra  causa  scilicet  695 

In  neruom  potius  ibit.     GE.  Nil  est,  Antipho, 

Quin  male  narrando  possit  deprauarier. 

Tu  id  quod  bonist  excerpis,  dicis  quod  malist. 

Audi  nunc  contra :  iam  si  argentum  acceperit, 

Ducendast  uxor,  lit  ai's  ;  concede  tibi ;  700 

Spatuim  quidem  tandem  adparandi  nuptias, 

Vocandi,  sacruficandi  dabitur  paiilulum. 

Interea  amici  quod  polliciti  sunt  dabunt : 

Inde  iste  reddet.  AN.  Quam  6b  rem  ?  aut  quid  dicet  ? 
GE.  Rogas  ? 

Quod  res  !  '  postilla  mdnstra  eueneriint  mihi ;  705 

Intro  iit  in  aedis  ater  alieniis  canis ; 

Anguis  per  Inpluuium  decidit  de  tegulis ; 

Gallina  cecinit ;  mterdixit  hariolus ; 

Haruspex  uetuit ;  ante  brumam  autem  noui 

Negdti  incipere 710 

' ,  quae  causast  iustissuma. 

Haec  fient.     AN.  Vt  modo  fiant !     GE.  Fient :  me  uide. 


46  TERENTI  [4.  4.  32- 

(Looking  toward  Demipho's  house)  Pater  exit :  abi,  die  esse 
argentum  Phaedriae. 

(Exit  Antiplio  to  the  right.} 

So.  5. 

Chremes  and  Demipho  reappear  with  the  money  for  Phormio, 
Chremes  apprehensive,  Demipho  confident  that  no  one  on  earth 
can  get  the  better  of  him.  In  a  moment  of  tender-heartedness, 
they  agree  that  Nausistrata  shall  go  and  break  the  news  as  gently 
as  possible  to  Phanium.  —  With  the  re-entering  of  the  old  men, 
the  music  begins  again  and  there  ensues  a  spirited  dialogue  in 
iambic  octonarii.  See  Introd.,  p.  xxxvi  f. 

[Demipho  and  Chremes  enter  from  the  latter' s  house,  the 
former  carrying  a  money-bag. ~\ 

DEMIPHO  CHREMES  GETA 

DE.  (to  CJiremes)  Quietus  esto,  inquam ;   ego  curabo  ne 

quid  uerborum  duit. 
Hoc  temere  numquam  amfttam  ego  a  me,  qum  mihi  testis 

adhibeam. 
Quoi  dem  et  quam  ob  rem  dem,  cdmmemorabo.    GE.  (aside) 

Vt  cautus  est,  ubi  nil  opust.  715 

CH.  Atque  ita  opus  f actost :  et  matura,  dura  lubido  eadem 

haec  manet ; 

Nam.  si  altera  illaec  magis  instabit,  f drsitan  nos  reiciat. 
GE.  (aside)  Rem  ipsam  putasti.    DE.  (to  Geta)  Due  me  ad 

eum  ergo.     GE.  N6n  moror.     CH.  (to  Demipho}  Vbi 

hoc  egeris,  -  ^y, 

Transito  ad  uxorem  meam,  ut  conueniat  hanc  prius  quam 

hinc  abit. 
Dica"t  earn  dare  nos  Phormioni  niiptum ;  ne  suscenseat ;  720 


4.  6.  2.]  PHORMIO.  47 

Et  magis  esse  ilium  iddneum,  qui  ipsi  sit  f  amiliarior  ; 
Nos  ndstro  officio  ndn  digresses  esse:    quantum   is  u<5- 

luerit, 
Datum   esse  dotis.      DE.   Quid  tua  malum  Id  re  fert? 

CH.  Magni,  Demipho. 
Non  satis  est  tuom  te  officium  fecisse,  id  si  non  fama 

£dprobat. 

Volo  ipsius  uoluntate  haec  fieri,  ne  se  eiectam  praedicet.  725 
DE.  Idem  ego  Istuc  facere  pdssum.     CH.  Mulier  miilieri 

magis  cdnuenit. 

DE.  Rogabo.     (Exeunt  Demipho  and  Geta  to  the  right.) 
CH.  (meditating)  Vbi  illas  mine  ego  reperire  possim,  cdgito. 


Sc.  6  [V,  1]. 

Chremes  is  startled  at  seeing  the  servant  of  his  Lemnian  wife  sud- 
denly appear  in  the  door  of  Demipho's  house.  A  conversation 
follows  as  amusing  to  the  audience  as  it  is  bewildering  to 
Chremes.  The  latter  finally  comprehends  the  situation,  and 
his  joy  knows  no  bounds.  —  During  Sophrona's  soliloquy  and 
the  "  asides  "  of  Chremes  (i.e.  to  739)  the  scene  is  purely 
lyrical  in  character.  The  recognition  of  each  other's  identity  is 
marked  by  three  trochaic  septenarii  (739-741).  Then  follows 
Chremes'  passionate  appeal,  with  an  explanation,  in  iambic 
octonarii  (742-747).  With  the  change  of  subject  in  748  begins 
a  series  of  iambic  septenarii  which,  together  with  the  music,  con- 
tinue throughout  the  rest  of  this  and  the  next  two  scenes.  See 
Introd.,  p.  xxxvi  f. 

[Sophrona  enters  from  Demipho's  house,  not  seeing  Chremes."] 
SOPHBONA  CHREMES 

SO.  (wildly,  to  herself)  Quid  agam  ?    quern  mi  amicum 
inueniam  misera  ?    aut  quo  consilia  haec  referam  ? 


48  TERENTI  [4. 6. 3- 

Aut  unde  auxiliiim  petam  ? 

Nam  uereor,  era  ne  6b  meum  suasum   indigna   iniuria 

adficiatur :  730 

ita    patrem    adulescentis    facta    haec    tdlerare    audi6 

uiolenter. 
CH.  (aside)  Nam  quae  haec  anus  est,  exanimata  a  fratre 

quae  egressast  meo  ? 
SO.  Quod  tit  facerem  egestas  me  inpulit,  quom  scirem 

infirmas  niiptias 
Hasce   esse,  ut  id  consiilerem,  intexea  uita  ut  in  tutd 

foret. 
CH.  (aside)  Certe  edepol,  nisi  me  animus  fallit  aut  parum 

prospiciunt  oculi,  735 

Meae  nutricem  gnatae  uideo.     SO.  Neque  Ille  inuestiga- 

tur      CH.  (aside)  Quid  ago  ? 
SO.  Qui  est  eius  pater.     CH.  (aside)  Adeo  an  maneo,  dum 

•  haec  quae  loquitur  magis  cognosco  ? 
SO.  Qu6d  si  eum  nunc  reperire  possim,  nfhil  est  quod 

uerear.     CH.  (aside)  East  ipsa : 

C<5nloquar.    (Approaches  her.)     SO.  (startled,  without  turn- 
ing to    look)   Quis    hie  Idquitur  ?      CH.    Sophrona ! 

SO.  Et  meum  nomen  ndminat  ? 
CH.    Respice   ad    me.      SO.    Di   dbsecro   uos,  estne   hie 

Stilpo  ?     CH.  Non.     SO.  (puzzled)  Negas  ?  740 

CH.  (in  a  low  excited  tone)  Concede  hinc  a  fdribus  paulum 

istdrsum  sodes,  Sophrona.     (TJiey  withdratv.) 
Ne  me   istoc  posthac  ndmine  appellassis.      SO.  Quid? 

non,  dbsecro,  es 
Quern  semper  te  esse  dictitasti  ?     CH.  (lifting  his  finger 

mysteriously)  St'.     SO.  Quid  has  metuis  fores  ? 
CH.  (in  an  undertone)  Concliisam  hie  habeo  uxdrem  saeuam. 

uerum  istoc  me  ndmine 


4. 6. 26.]  PHOKMIO.  49 

Eo    pe"rperam    olim    dixi,    ne    uos    fdrte    inprudentes 

foris  745 

Effiittiretis    atque    id    porro    aliqua    lixor    mea    resci- 

sceret. 
SO.  Istdc  pol  nos  te  Me  muenire  miserae  numquam  p6- 

tuimus. 
CH.  Eho,  die  mihi,  quid  rei  tibist  cum  familia  hac  unde 

exis  ? 
Ybi  Illae  sunt  ?     SO.  Miseram  me !     CH.  Hem,  quid  est  ? 

uiudntne  ?     SO.  Viuit  gnata. 
Matrem  ipsam  ex  aegritiidine  hac  miseram  mors  consecu- 

tast.  750 

CH.   Male  factum.      SO.  Ego   autem,  quae   essem   anus 

deserta,  egens,  igndta, 

Vt  pdtui  nuptum  uirginem  locaui  huic  adulescenti, 
Harum   qui    est    dominus   aedium.      CH.    Antiphdnin  ? 

SO.  Em,  istic  ipsi.  ^  »*^\U 
CH.  (hardly  believing  his  ears)  Quid  ?  duasne  uxores  habet  ? 

SO.  (throwing  up  both  hands  and  turning  her  head  in 

deprecation)   Au,  obsecro,   linam   ille   quidem   lianc 

solam. 
CH.  Quid  Illam  alteram  quae  dicitur  cognata  ?     SO.  Haec 

ergost.     CH.  Quid  ai's  ?  755 

SO.  Composite  factumst,  qu6  modo  hanc  amans  habere 

pdsset 
Sine  dote.     CH.  (to  himself,  walking  excitedly  this  way  and 

that)  Di  uostram  fidem,  quam  saepe  forte  temere 
Eueniunt  quae  non  aiideas  optare !  offendi  adueniens 
Quociim  uolebam  et  ut  uolebam  cdnlocatam  gndtam. 
Quod    nds    anibo    opere    maxumo    dabamus    operam    ut 

fieret,  760 

Sine  ndstra  cura,  m^xuma  sua  ciira  hie  solus  fe'cit. 


50  TERENTI  [4. 6. 27- 

Cfi' 

SO.   Nunc  quid  opus  facto  sit  uide :  pater  adulescentis 

uenit 
Eumque  animo  iniquo  hoc  dppido  ferre  aiunt.     CH.  Nil 

periclist. 
Sed  per  deos  atque  homines  meam  esse  hanc  cau6  resciscat 

quisquam. 
SO.  Nemo  e  me  scibit.     CH.  Sequere  me:  intus  cetera 

audieto's.  765 

(Exeunt  into  Demipho's  house.') 


5.  1.  11.]  PHORMIO.  51 

ACTVS  V. 
So.  1  [2]. 

Demipho  has  paid  the  money  to  Phormio,  and  now  returns  in  a 
very  unhappy  frame  of  mind  at  the  thought  that  they  have 
allowed  Phormio  to  profit  by  playing  the  rascal.  Geta  worries 
him  with  forebodings,  and  begins  at  the  same  time  to  feel  uneasy 
about  his  own  prospects.  —  For  the  metre,  see  remarks  at  the 
beginning  of  Act  IV,  Sc.  6. 

\_Demipho  and  Geta  enter  from,  the  right.'] 
DEMIPHO  GETA 

DE.  Nostrapte  culpa  facimus  ut  malis  expediat  esse, 

Dum  minium  dici  nos  bonos  studemus  et  benignos. 

Ita  f ugias  ne  praeter  casam  —  quod  aiunt.     nonne  id  sa"t 

erat, 
Accipere  ab  illo  iniuriam  ?  etiam  argentumst  ultro  ob- 

iectum, 

Vt  sit  qui  uiuat,  dum  aliud  aliquid  fla"giti  conficiat.       770 
GE.  Planissume.     DE.  Eis   nunc   praemiumst,  qui  recta 

praua  faciunt. 
GE.   Verfssume.     DE.   Vt   stultissume   quidem   Illi  rem 

gesserimus ! 

GE.  Modo  ut  hdc  consilio  pdssiet  discedi,  ut  istam  ducat. 
DE.  (startled)  Etiamne   id  dubiumst?     GE.   Haud   scio 

hercle,  ut  homdst,  an  mutet  animum. 
DE.  Hem !  mutet  autem  ?     GE.  Nescio ;  uerum,  si  forte, 

dico.  775 

DE.  Ita  faciam,  ut  frater  censuit,  ut  uxdrem  eius  hue 

addiicam, 


52  TEBENTI  [5.  1.  12- 

Cum  ista  ut  loquatur.     tii,  Geta,  abi  prae,  nuntia  hanc 

uenturam.  (Exit  into  Chremes's  house.) 

GE.  (thoughtfully)  Argentum  inuentumst  Phaedriae;    de 

iiirgio  siletur  ; 
Prouisumst,  ne  in  praesentia  haec  hinc  abeat  :  quid  nunc 

pdrro  ? 
Quid  fiet?  (shrugging  his  shoulders')  in  eodem  luto  haesi- 

tas  ;  uorsuram  sdlues,  780 

Geta  :  praesens  quod  fuerat  malum,  in  diem  abiit  ;  plagae 

crescunt, 

Nisi  prdspicis.    nunc  hinc  domum  ibo  ac  Phanium  edocebo, 
Ne  quid  uereatur  Phdrmionem  aut  eius  oratidnem. 

(Exit  into  Demipho's  house.) 

l 


So.  2  [3]. 

Demipho  returns  with  Nausistrata,  who  has  agreed  to  break  the 
news  of  the  proposed  arrangements  to  Phanium.  In  the  mean- 
time, she  improves  the  opportunity  of  telling  what  she  thinks  of 
her  husband.  —  For  the  metre,  see  remarks  at  the  beginning  of 
Act  IV,  Sc.  6. 

[Demipho  and  Nausistrata  enter  from  Chremes's  house.~\ 
DEMIPHO  NAVSISTRATA 

DE.  Age  dum,  ut  soles,  Nausistrata,  fac  Ilia  lit  placetur 

ndbis, 
Et   sua  uoluntate   id  quod  est  faciundum  faciat.     NA. 

Faciam.  785 

DE.  Pariter  nunc  opera  me  adiuues  ac  re  dudum  opitu- 

lata  es. 
NA.  Factum  uolo.     ac  pol  minus  queo  uiri  ciilpa  quam 

me  dignumst. 


5. 3. 2.]  PHORMIO.  53 

DE.  Quid  aiitem  ?  NA.  Quia  po}  mei  patris  bene  parta 
indiligenter 

Tutatur ;  nam  ex  eis  praediis  talenta  argenti  bma 

Statim  capiebat :  HIT  uiro  quid  praestat !  DE.  Binan, 
quaeso  ?  790 

NA.  Ac  rebus  uilidribus  multd  talenta  bma.  DE.  (affect- 
ing surprise)  Hui ! 

NA.  Quid  haec  uidentur  ?  DE.  Scilicet !  NA.  Viriim  me 
natum  uellem : 

Ego  ostenderem —  DE.  Certd  scio.  NA.  .quo  pacto — 
DE.  Parce  sddes, 

Vt  pdssis  cum  ilia,  ne  te  adulescens  mulier  defetiget. 

NA.  Faciam  ut  iubes.  sed  meum  uirum  abs  te  exire 
uideo.  796 

Sc.  3  [4J. 

Chremes  has  had  an  interview  with  his  daughter,  and  now  comes 
rushing  out  to  tell  Demipho  of  his  discovery,  and  put  a  stop  to 
their  proceedings  against  Phanium.  In  his  excitement,  he  does 
not  notice  his  wife,  Nausistrata,  in  time  to  avoid  compromising 
himself.  Then  he  makes  an  amusing  attempt  to  parry  the 
embarrassing  questions  which  his  manner  prompts  Demipho 
and  Nausistrata  to  ask.  —  The  reappearance  of  Chremes  is 
marked  by  a  change  of  metre  to  iambic  octonarii  which  con- 
tinue, with  musical  accompaniment,  throughout  the  scene.  See 
Introd.,  p.  xxxvif. 

r 

[Chremes  comes  out  of  Demipho' s  House."] 

N  A  VS  ISTR  AT  A         C  H  B  E  M  E  S         DEMIPHO 

CH.  (eagerly)  Eh8m,  Demipho ! 

lam  illi  datumst  argentum  ?  DE.  Curaui  flico.  CH. 
Noll  em  datum.  (To  himself,  in  chagrin.") 


54  TERENTI  [5. 3. 3- 

Ei !  uideo  uxorem.     paene  plus  quam  sa"t  erat.     DE.  Quor 

nolles,  Chremes  ? 
CH.  (in   confusion)   lam    recte.     DE.    Quid  tu  ?    ecquid 

locutu's  cum  istac  quam  ob  rem  hanc  ducimus  ? 
CH.  Transegi.     DE.  Quid  a'it  tandem  ?     CH.  Abduci  ndn 

potest.     DE.  Qui  non  potest  ? 
CH.  Quia  uterque  utriquest  cordi.     DE.  Quid  istuc  ndstra  ? 

CH.  Magni.     praeterhac  800 

Cognatam  comperi  esse  nobis.     DE.  Quid  ?  deliras !     CH. 

Sic  erit. 
Non  temere  dico :  redii  mecum  in  memoriam.     DE.  Satin 

sa"nus  es  ? 
NA.  Au,  6bsecro,  uid6  ne  in  cognatam  pecces.     DE.  Non 

est.     CH.  Ne  nega. 
Patrls  ndmen  aliud  dictumst:  hoc  tu  errasti.     DE.  Non 

norat  patrem  ? 
CH.  Norat.     DE.  Quor  aliud  dixit  ?     CH.  (edging  toward 

him,  angrily)  Numquamne  hddie  concedes  mihi       805 
Neque  Intelleges  ?     DE.  Si  tu  nil  narras  ?     CH.  Perdis. 

NA.  Miror  quid  siet. 
DE.  Equidem  hercle  nescio.     CH.  Vin  scire  ?  at  ita  me 

seruet  liippiter, 
Vt  prdprior  illi,  qu£m  6go  sum  ac  tu,   [homo]  nemost.- 

DE.  Di  uostram  fideni ! 
Eamus  ad  ipsam ;  una  dmnis  nos  aut  scire  aut  nescire  hdc 

uolo.     CH.  Ah! 
DE.  Quid  est  ?     CH.  Itan  paruam  mihi  fidem  esse  apiid 

te  !     DE.  Vin  me  credere  ?  810 

Vin  satis  quaesitum  mi  istuc  esse  ?  age,  fiat,     quid  ?  ilia 

filia  (slyly) 
Amici  nostri  quid  futurumst  ?     CH.   Kecte.     DE.  Hanc 

igitur  mittimus  ? 


5.  4.  7.] 


PHORMIO.  55 


CH.  Quid  ni  ?     DE.  flla  maneat  ?     CH.  Sic.     DE.  Ire  igi- 

tur  tibi  licet,  Nausistrata. 
NA.  Sic  pol  commodius  esse  in  omnis  arbitror,  quam  ut 

coeperas, 
Manere  hanc;  nam  perliberalis  uisast,  quom  uidi,  mihi 

(goes  into  her  house).  815 

DE.  (out  of  all  patience)  Quid  Istiic  negotist  ?     CH.  lamne 

operuit  ostium  ?     DE.  lam.     CH.  0  Jiippiter  ! 
Di  nos  respiciunt.     gnatam  inueni  niiptam  cum  tuo  fflio. 

DE.  Hem  ! 
Quo  pacto   [id]   potuit?     CH.  N6n  satis  tutus  est  ad 

narrandum  hie  locus. 
DE.  At  tu  intro^abi.     CH.  (as  they  both  go  into  Demipho's 

house)  Heus,  ne  filii  quidem  hoc  ndstri   resciscant 

uolo. 

So.  4. 

Antipho  soliloquizes  upon  his  cousin's  happiness  and  his  own 
misery.  —  The  scene    is    in    iambic  septenarii,   with  musical 

accompaniment.     See  Introd. ,  p.  xxxvi  f . 

* 

[Antipho  enters  from  the  right."] 
ANTIPHO 

Laetus  sum,  ut  meae  res  sese  habent,  fratri  dbtigisse  qu6d 
uolt.  820 

Quam  scitumst,  eius  modi  parare  in  a"nimo  cupiditates, 
Quas,  qudm  res  aduorsae  sient,  pauld  mederi  p6ssis  ! 
Hie  simul  argentum  repperit,  cura  sese  expediuit ; 
Ego  nullo  possum  remedio  me  eudluere  ex  his  tiirbis, 
Quin,  si  hdc  celetur,  in  metu,  siii  patent,  in  probr<5  sim.    826 
Neque  m^  domum  nunc  reciperem,  ni  mi  esset  spes  ostenta 


56  TERENTI  [5. 4. 8- 

Huiusce  habendae.     sed  ubi  nam  Getam  muenire  pdssim  ? 
[Yt  roggm,  quod  tempus  conueniundi  patrls  me  capere 
suadeat.] 

Sc.  5. 

Phormio  is  greatly  delighted  at  the  success  of  his  plans.  He  thinks 
he  will  take  a  few  days  off  to  celebrate.  —  Upon  his  entrance 
the  metre  changes  to  iambic  octonarii,  the  music  still  continu- 
ing. See  Introd. ,  p.  xxxvi  f. 

[Phormio  enters  from  the  right.'] 
PHORMIO  ANTIPHO 

PH.  Argentum  accepi,  tradidi  lendni ;  abduxi  mulierem, 
Curaui  propria  ut  Phaedria   poteretur ;    nam   emissast 

manu.  830 

Nunc  una  mihi  res  etiam  restat  quae  est  conficiunda, 

dtium 
Ab  senibus  ad  potandum  ut  habeam;  nam  aliquod  hos 

sumam  dies. 
AN.    (as    yet    unobserved)    Sed    Phdrmiost.     quid  ai's  ? 

PH.  Quid  ?     AN.  Quid  nam  niinc  f  acturust  Phaedria  ? 
Quo  pacto  satietatem  amoris  ait  se  uelle  absumere  ? 
PH.  Vicissim  partis  tuas  acturus  est.    AN.  Quas  ?    PH.  Vt 

fugitet  patrem.  835 

Te   suas   rogauit  rursum  ut   ageres,  causam  ut  pro   se 

diceres ; 

Nam  pdtaturus  est  apud  me.     ego  me  ire  senibus  Sunium 
Dicam  ad  mercatum,  ancillulam  emptum  dudum  quam 

dixit  Geta, 
Ne,  quom  hie  non  uideant,  me  conficere  credant  argentiim 

suom. 


5. 6. 8.]  PHORMIO.  57 

Sed  dstium  concre'puit  abs  te.      (Both  withdraw  to  one 

side.) 
AN.  Vide  quis  egreditiir.     PH.  Getast  »H) 

Sc.  6. 

Geta  has  been  eavesdropping  and  now  comes  out  in  great  glee  to 
hunt  up  Antipho  and  tell  of  the  wonderful  things  he  has  heard. 
—  The  metre  changes  to  trochaic  septenarii,  which,  with  musical 
accompaniment,  continue  throughout  the  scene.  See  Introd., 
p.  xxxvi. 

[Geta  comes  rushing  out  of  Demiphd's  house.] 
GETA  ANTIPHO  PHORMIO 

GE.  6   Fortuna !   o  Fdrs  Fortuna !   quantis  commodita^ 

tibus, 
Quam  subito  meo  ero  JLntiphoni  ope  udstra  hunc  onerastis 

diem ! 
AN.    (aside    to    Phormio')    Quid    nam    hie    sibi    uolt  ? 

GE.  ndsque  amicos  eius  exonerastis  metu! 
Sed  ego  mine  mihi  cesso,  qui  non  umerum  hunc  onero 

pallio  (suiting  the  action  to  the  word) 
Atque   hominem   propero   inuenire,  ut  haec   quae   con- 

tigermt  sciat.  845 

AN.  (aside  to  Phormio)  Num  tu  intellegis,  quid  hie  nar- 

ret?      PH.  (aside  to  Antipho)  Num  tu?     AN.  Nil. 

PH.  Tantundem  ego. 
GE.  Ad  lenonem  hinc  ire  pergam :  ibi  mine  sunt  (starts 

to  run).     AN.  Heus !  Geta !     GE.  (slackening  his  pace, 

without  turning)  l£m  tibi ! 
Niim  mirum  aut  noudmst  reuocari,  ciirsum  quom  insti- 

teris  ?     AN.  (louder  than  before)  Geta ! 


58  TERENTI  [5. 6. 9- 

GE.  Pergit  liercle.     (Muttering)  numquam  tu  odio  tud  me 

uinces.     AN.  iSTdn  manes  ? 
GE.  (sullenly)  Vapula !     AN.  Id  quid8m  tibi  iam  fiet,  nisi 

resistis,  uerbero.  850 

GE.  (surprised)  Familiaridrem  oportet  esse  hunc :  minita- 

tur  malum. 
(Turning  to  look)   Sed  Isne  est  quern   quaero  an  non? 

ipsust ;  (rushing  toward  Antipho)  cdngredere  actutiim. 

AN.  Quid  est  ? 
GE.  0  dmnium,  quantumst  qui  uiuont,  hdmo  homiuum 

ornatissume  ! 

Nam  sine  controuorsia  ab  dis  sdlus  diligere,  Antipho. 
AN.  Ita  uelim ;  sed  qui  istuc  credam  ita  esse  mihi  dici 

uelim.  855 

GE.  Satine  est  si  te  delibutum  gaudio  reddo  ?    AN.  ^nicas. 
PH.  (to  Geta)  Qum  tu  hinc  pollicitationes  aiifer  et  quod 

f ers  cedo.     GE.  Oh  ! 
Tu  quoque   aderas,  Phdrmio  ?      PH.   Aderam.      sed   tu 

cessas  ?     GE.  Accipe,  em ! 

Vt  modo  argentum  tibi  dedimus  apud  forum,  recta  domum 
Siimtis    profecti;    interea  mittit   ertis    me    ad    uxorem 

tuam.  860 

AN.  Quam  db  rem  ?     GE.  Omitto  prdloqui ;  nam  nil  ad 

hanc  rem  est,  Antipho. 

Vbi  In  gynaeceum  ire  occipio,  piier  ad  me  adcurrit  Mida, 
Pone  jsrendit  pallio,  resupinat.     respicid,  rogo 
Quam  db  rem  retineat  me.    ait  esse  uetitum  intro  ad  eram 

accedere. 
'Sdphrona   modo  fratrem  hue'  inquit  *senis  introduxit 

Chremem ' ;  865 

Eiimque  nunc  esse  mtus  cum  illis.     hdc  ubi  ego  audiui, 

dd  fores 


5. 6. 43.]  PHOKMIO.  59 

Suspense  gradii  placide  ire  perrexi,  access!,  a"stiti, 
Animam  compressi,  aurem  admoui:    ita  animum  coepi 

attendere, 
H<5c  modo  sermdnem  captans.     PH.  Eu,  Geta !     GE.  Hie 

pulcherrumum 

Facinus  audiui ;  itaque  paene  hercle  exclamaui  gaiidio.  870 
AN.  Quod  ?  GE.  Quod  nam  arbitrare  ?  AN.  Nescio. 

GE.  JLtqui  mirificissumuin : 
Patruos   tuos    est    pater    inuentus    Phanio  uxorf  tuae. 

AN.  [Hem!] 
Quid  ai's  ?     GE.  Cum  eius  consueuit  olim  matre  in  Lemno 

clanculum. 
PH.    Sdmnium !    utlne    haec    ignoraret    sudm    patrem  ? 

GE.  Aliquid  credito, 
Phormio,  esse    caiisae.     sed    me    censen    potuisse    6m- 

nia  875 

Intellegere   extra    dstium,   intus   quae    inter    sese    ipsi 

egerint  ? 
AN.  Atque  ego  quoque  inaudiui  illam  f abulam.    GE.  Immo 

etiam  dabo 
Quo   magls  credas:    patruos  interea  inde  hue  egreditiir 

foras ; 

Haud  multo  post  cum  patre  idem  recipit  se  intro  denuo ; 
Ait  uterque  tibi  potestatem  eius  adhibendae  dari.  880 
Denique  ego  sum  missus,  te  ut  requirerem  atque  addii- 

cerem. 
AN.  (beside  himself  w^  j°y)  Quin  ergo  rape  me* :    quid 

cessas  ?     GE.  Fecero.     AN.  0  mi  Phdrmio, 
ValS !    (They  hurry  into  Demipho's  house.)      PH.  Vale, 

Antipho" !     bene,  ita  me  dl  ament,  factum  gaiideo. 


60  TERENTl  [5. 7. 1- 

Sc.  7. 

Phormio  expresses  his  satisfaction  with  the  turn  events  have 
taken.  —  The  music  has  ceased,  and  the  metre  changes  to 
iambic  senara,  which  continue  to  1011.  See  Introd.,  p.  xxxvi. 

PHORMIO 

(Soliloquizing)  Tantam  fortunam  de  mprouiso  esse   his 

datam ! 

Summa  eludendi  occasiost  mihi  mine  senes  885 

Et  Phaedriae  curam  adimere  argentariam, 
Ne  quoiquam  suorum  aequalium  supplex  siet. 
Nam  idem  hoc  argentum,  ita  lit  datumst,  ingratiis 
Ei  ddtum  erit :  hoc  qui  cogam,  re  ipsa  repperi. 
Nunc  gestus  mihi  uoltiisque  est  capiundiis  nouos.          890 
Sed  hmc  concedam  in  angiportum  hoc  prdxumum, 
Inde  hisce  ostendam  me,  libi  erunt  egressi  foras. 
Quo  me  adsimtilaram  ire  ad  mercatum,  non  eo. 

Sc.  8. 

Demipho  and  Chremes  reappear  in  search  of  Phormio,  to  inform 
him  of  their  decision  to  annul  the  contract  and  take  back  their 
money  ;  whereupon  Phormio  proceeds  to  put  his  new  scheme 
into  execution.  He  will  have  them  understand  that  he  proposes 
to  be  fairly  dealt  with,  and  won't  be  imposed  upon  by  anybody. 
Phormio  outfaces  them,  and,  as  words  are  of  no  avail,  they 
resort  to  force.  —  For  the  metre,  see  remarks  at  the  beginning 
of  Act  V,  Sc.  1, 

[Demipho  and  Chremes  come  out  of  the  former's  house.~\ 
DEMIPHO  CHREMES  PHORMIO 

DE.  Dis  m^gnas  merito  gratias  habeo  atque  ago, 
Quando  euenere  haec  nobis,  frater,  prospere.  896 


5. 8. 28.]  PHORMIO.  61 

CH.  Estne  ita  ut£  dixi  liberalis  ?     DE.  6ppido. 

Quantum  potest,  nunc  cdnueniundust  Phdrmio, 

Priiis  quam  dilapidat  ndstras  triginta  minas, 

Vt  auferamus.     PH.  (coming  out,  and  pretending  not  to  see 
them)  Demiphonem  si  domist 

Visam,  ut  quod —    DE.  (interrupting  him)  At  nos  ad  te 
ibamus,  Phdrmio.  900 

PH.  De  eadem  hac  fortasse  caiisa?      DE.  Ita  hercle. 
PH.  Credidi. 

Quid  ad  me  ibatis  ?     DE.   Ridiculum  —    PH.   (interrupt- 
ing) uergbamini 

Ne  ndn  id  facerem,  qu<5d  recepissem  semel  ? 

Heus  !  quanta  quanta  haec  mea  paupertas  est,  tamen 

AdMc  curaui  unum  h6c  quidem,  ut  mi  esset  fides.         906 

Idque  adeo  uenio  nuntiatum,  Demipho, 

Paratum  me  esse  :  ubi  udltis,  uxorem  date. 

Nam  omnis  posthabui  mihi  res,  ita  uti  par  fuit, 

Postquam  id  tanto  opere  uds  uelle  animum  adudrteram. 

DE.  At  hie  dehortatus  est  me,  ne  illam  tibi  darem :       910 

'  Nam  qui  erit  rumor  pdpuli,'  inquit,  '  si  id  feceris  ? 

Olim  quom  honeste  pdtuit,  turn  non  est  data ; 

Earn  mine  extrudi  turpest.'     ferme  eadem  dmnia, 

Quae  tute  dudum  cdram  me  incusaueras. 

PH.  Satis  superbe  inliiditis  me.   DE.  Qui  ?   PH.  Rogas  ?  915 

Quia  ne  alteram  quidem  illam  potero  ducere ; 

Nam  qud  redibo  ore  ad  earn  quam  contempserim  ? 

CH.  (in  a  low  voice,  prompting  Demipho,  who  is  at  a  loss 
for  words') 
( Turn  autem  Antiphonem  uideo  ab  sese  amittere 

Inuitum  earn '  inque.     DE.  Turn  autem  uideo  fflium 

Inuitum  sane  mulierem  ab  se  amittere.  920 

Sed  transi  sodes  ad  forum  atque  illud  mihi 


62  TERENTI  [5. 8. 29- 

Argentum  rursum  iub6  rescribi,  Phdrmio. 
PH.  Quodne  ego  discripsi  pdrro  illis  quibus  debui  ? 
DE.  Quid  igitur  fiet  ?     PH.  Si  uis  mi  uxorem  dare, 
Quam  despondisti,  ducam ;  sin  est  lit  uelis  925 

Manere  illam  aptld  te,  dds  hie  (patting  his  own  chest) 

maneat,  Demipho. 

Nam  ndn  est  aequom  me  propter  uos  decipi, 
Quom  ego  udstri  honoris  causa  repudium  alterae 
Kemiserim,  quae  ddtis  tantundem  dabat. 
DE.  In  in  malam  rem  hinc  cum  istac  magnificentia,       930 
Fugitiue  ?  etiam  nunc  credis  te  ignorarier 
Aut  tiia  f acta  adeo  ?   PH.  Inritor !    DE.  Tune  hanc  duceres, 
Si  tibi  daretur  ?     PH.  Fac  periclum.     DE.  Vt  filius 
Cum  ilia  habitet  apud  te :  hoc  nostrum  consilium  fuit. 
PH.  Quaesd   quid  narras  ?     DE.  Quin  tu   mi   argentum 

cedo.  93B 

PH.  Immo  uero  uxorem  tu  cedo.     DE.  In  ius  ambula. 
PH.  Enlm  uero  si  porro  esse  odiosi  pergitis  — 
DE.  Quid  f  acies  ?     PH.  Egone  ?  uos  me  indotatis  modo 
Patrdcinari  f drtasse  arbitramini : 
Etiam  (raising  his  eyebrows,  and  looking  Chremes  straight 

in  the  eye)  dotatis  sdleo.     CH.  Quid  id  nostra  ?     PH. 

(after  an  insinuating  pause)  Nihil.  940 

Hie  quandam  noram,  quoius  uir  uxorem  —    CH.  (startled 

at  finding  his  secret  is  known)  Hem !     DE.  Quid  est  ? 
PH.  Lemni   habuit   aliam  —     CH.   (trembling  with  fear) 

Nullus  sum.     PH.  ex  qua  filiam 
Suscepit,  et  earn  clam  educat.     CH.  Sepultus  sum. 
PH.  Haec  adeo  ego  illi  iam  denarrabo.     CH.  6bsecro, 
Ne facias.    PH.  Oh!  tune  is  eras?   DE.  Vt ludds  f acit !    945 
CH.  (in  a  conciliating  tone,  to  Phormio)  Missiim  te  facirnus. 

PH.  Fabulae !     CH.  Quid  uis  tibi  ? 


5. 8. 77.]  PHORMIO.  63 

Argentum    quod    habes    condonamus    te.      PH.   Audio. 

(After  a  pause,  indignantly') 
Quid  uos  malum  ergo  me  sic  ludificamini 
Inepti  uostra  puerili  sententia  ? 

Nold,  uolo ;  uolo,  nolo  rursum ;  cape,  cedo  ;  950 

Quod  dictum,  indictumst ;   qudd  modo  erat  ratum,  mri- 

tumst. 
CH.  (aside  to  Demipho)  Quo  pacto  aut  unde  hie  haec 

resciuit  ?     DE.  (aside  to  Chremes)  Nescio ; 
Nisi  me  dixisse  nemini  cert6  scio. 
CH.  (aside  to  Demipho')  Monstri,  ita  me  dl  ament,  simile. 

PH.   (aside)    Inieci    scrupulum.      DE.  (to    Chremes) 

Hem! 

Hicine  ut  a  nobis  hoc  tantum  argenti  aiif  erat  955 

Tarn  aperte  inridens  ?  emori  hercle  satius  est. 
Animo  uirili  praesentique  ut  sis  para. 
Vides  tuom  peccatum  esse  elatum  foras 
Neque  iam  id  celare  posse  te  uxorem  tuam. 
Nunc  quod  ipsa  ex  aliis  auditura  sit,  Chremes,  960 

Id  nosmet  indicare  placabilius  est. 
Turn  hunc  inpuratum  poterimus  nostro  modo 
Vlcisci.     PH.  (aside)  Attat !  nisi  mi  prospicio,  haereo. 
Hi  gladiatorio  animo  ad  me  adfectant  uiam. 
CH.  (to  Demipho)  At  uereor  ut  placari  possit.     DE.  (to 

Chremes)  Bono  animo  es  :  965 

Ego  redigam  uos  in  gratiam,  hoc  fretus,  Chremes, 
Quom  e  medio  excessit  unde  haec  susceptast  tibi. 
PH.  (defiantly)  Itan  agitis  mecum  ?   satis   astute   adgre- 

dimini.  C^j^a^ 

Non  hercle  ex  re  istius  me  instigasti,  Demipho. 
(to  Chremes)  Ain  tu  ?   ubi  quae   lubitum  fuerit  peregre 

feceris  970 


64  TERENTI  [5. 8.  78- 

Neque  hums  sis  ueritus  feminae  primariae, 

Quin  nou5  modo  ei  faceres  contumeliam, 

Venias  nunc  precibus  lautum  peccatum.  tuom  ? 

Hisce  ego  Illain  dictis  ita  tibi  incensam  dabo, 

Vt  ne  restinguas,  lacrumis  si  extillaueris.  975 

DE.  Makim  !  quod  isti  di  deaeque  omnes  duint ! 

Tantane  adfectum  quemquam  esse  hominem  audacia ! 

Non  hoc  publicitus  scelus  hinc  asportarier 

In  sdlas  terras !     CH.  (aside  to  Demipho)  In  Id  redactus 

sum  loci, 
Vt  quid  ag^am  cum  illo  nesciam  prorsiim.    DE.  (to  Chremes) 

]$gO  scio :  980 

In  iiis  eamus.     PH.  1 11  ius  ?  hue  (starting  towards  Nausi- 

strata's  house)  si  quid  lubet. 
CH.  (to  Demipho)  Adsequere,  retine,  diim  ego  hue  seruos 

euoco.     (Demi2)ho  lays  hold  of  Pliormio.) 
DE.  (struggling)  Emm  nequeo  solus :  adcurre.     (Chremes 

timidly  takes  hold  of  Phormio.~)    PH.  (to  Demipho)  Vna 

iniuriast 
Teciim.     DE.   (to   Phormio)  Lege  agito  ergo.     (Chremes 

gains   courage  and  jerks  Phormio.)     PH.    Alterast 

tecum,  Chremes. 
CH.  (to  Demipho)  Eape  hiinc.     PH.  Sic  agitis  ?  entm  uero 

uocest  opus :  985 

Nausistrata,  exi.     CH.  (alarmed,  to  Demipho)  Os  dpprime 

inpurum :  uide 
Quantum   ualet.     PH.   (louder  than   before)   Nausistrata, 

inquam.     DE.  Non  taces  ? 
PH.  Taceam  ?     DE.  (to  Chremes)  Nisi  sequitur,  piignos  in 

uentrem  mgere. 
PH.  Vel  dculum  exculpe  :  est  ubi  uos  ulciscar  probe. 


6. 9. 11.]  PHORMIO.  65 

Sc.  9. 

Nausistrata  answers  the  call,  and  learns  from  Phormio  the  true 
character  of  her  husband.  The  play  ends  with  the  complete  dis- 
comfiture of  Chremes  and  the  triumph  of  the  cunning  Phormio. 
Through  the  intercession  of  Demipho,  however,  Chremes  seems 
likely  to  be  forgiven.  On  the  whole,  all  parties  have  reason  to 
be  satisfied.  — For  the  metre,  as  far  as  1011,  see  remarks  at  the 
beginning  of  Sc.  7.  With  Nausistrata's  appeal  to  Demipho 
(1011)  the  music  begins  again,  and  the  metre  changes  to  trochaic 
septenarii,  which  continue  to  the  end  of  the  play. 

[Nausistrata  comes  out.] 

NAVSISTRATA     CHREMES      DEMIPHO      PHORMIO 
NA.  Qui  n<5minat  me  ?  (to  Chremes)  hem !  quid  Istuc  tur- 

baest,  obsecro,  990 

Mi  uir  ?     PH.  (calmly  folding  his  arms,  to  Chr ernes')  Ehem ! 

quid  mine  dbstipuisti?     NA.  (to  Chremes)  Quis  hie 

homost  ? 

Non  mihi  respondes  ?     PH.  Hieine  ut  tibi  respondeat, 
Qui  hercle  libi  sit  nescit  ?     CH.  ( to  Nausistrata)  Caue  Isti 

quicquam  credwas. 

PH.  (to  Nausistrata,  eying  Chremes  as  if  he  were  a  curi- 
osity) Ab!,  tange.    si  non  t6tus  friget,  me  enica. 
CH.  (shyly)  Nil  est.     NA.  Quid  ergo  ?  quid  Istic  narrat  ? 

PH.  lam  scies  :  995 

Ausculta.     CH.  Pergin  credere  ?     NA.  Quid  ego,  dbsecro, 
Huic  credam,  qui  nil  dixit  ?     PH.  Delirat  miser 
Timore.     NA.  (to  Chremes)  Non  pol   temerest,  quod  tit 

tarn  times. 
CH.  Eg5n  timeo  ?     PH.  (sneering)  Recte  sane :    quando 

nil  times, 
Et  hoc  nil  est  quod  ego  dico,  tu  narra.     DE.  Scelus,    1000 


66  TEKENTI  [5. 9. 12- 

Tibi  na"rret  ?     PH.  (to  Demipho)  Ohe  tu !  f actumst  abs  te 

sedulo 
Pro  f ratre.     NA.  Mi  uir,  ndn  mihi   dices  ?     CH.  At  — 

(hesitating)  NA.  Quid  '  at '  ? 
CH.  Non  opus  est  dicto.     PH.  Tibi  quidem ;  at  scito  huic 

opust. 
(to  Nausistrata)  In  Lemno  —    DE.  Hem !  quid  ai's  ?    CH. 

N<5n  taces  ?     PH.  clam  te  —    CH.  (aside)  Ei  mihi ! 
PH.  Vxdrem  duxit.     NA.  (throwing  up  both  hands,   and 

staggering)  Mi  homo !  di  meliiis  duint !  1005 

PH.   Sic   factumst.      NA.   Perii   misera!      PH.   Et   inde 

filiam 
Suscepit  iam  unam,  diim  tu  dormis.     CH.  (aside  to  Demi 

phd)  Quid  agimus  ? 

NA.  Pro  di  inmortales,  facinus  miserandum  et  malum ! 
PH.  (having  overheard  Chremes)  Hoc  actumst.     NA.  An 

quicquam  hodiest  factum  indignius  ? 
Qui  mi,  ubi  ad  uxores  uentumst,  turn  fiiint  senes.          1010 
Demipho,  te  appello :  nam  cum  hoc  ipso  distaedet  loqui : 
Haecine  erant  itiones  crebrae  et  mansiones  diutinae 
Lamni  ?    haecine   erat  ea  quae   nostros   minuit   fructus 

uilitas  ? 
DE.  (in  a  conciliatory  tone)  figo,  Nausistrata,  esse  in  hac 

re  culpam  meritum  iidn  iiego: 
Sed  ea  quin  sit  ignosceiida?    PH.  (aside,  chuckling')  Verba 

fiunt  mortuo.  1015 

DE.  Nam  neque  neclegentia  tua  neque  odio  id  fecit  tuo. 
Vinolentus  fere  abhinc  annos  quindecim  mulierculam 
Earn  compressit,  unde  haec  natast;   neque  postilla  um- 

quam  attigit. 
£a  mortem  obiit,  e  medio  abiit,  qui  fuit  in  re  hac  scni- 

pulus. 


6. 9. 47.]  PHORMIO.  67 

Quam  db  rem  te  oro,  ut  alia  facta  tua  sunt,  aequo  animo 

h(5c  feras.  1020 

NA.  Quid  ego  aequo  animo  ?  ciipio  misera  in  hac  re  iam 

def  ungier ; 
Sed  qui   id   sperem  ?    aetate   porro    minus    peccaturum 

putem  ? 

Iam  turn  erat  senex,  senectus  si  uerecundds  facit. 
An  mea  forma  atque   aetas   nunc   magis    expetendast, 

Demipho  ? 
Quid  mi  hie  adfers,  quam  6b  rem  expectem  ant  sperem 

porro  iidn  fore  ?  1025 

PH.  (with  the  voice  of  one  issuing  a  proclamation)  l^xsequias 

Chremeti   quibus   est   cdmmodum   ire,  em!   tempus 

est. 

Sic  dabo.    age  nunc,  Phdrmionein  qui  uolet  lacessito : 
Faxo  tali  sit  mactatus  atque  hie  6st  infortunio. 

(He  observes  Chr ernes  in  silence  for  a  moment,  and 

then,  pretending   to   be  moved  to  pity,  addresses  the 

audience*)  Redeat  sane  in  gratiam  iam :  siipplici  satis 

est  mihi. 
Habet  haec  e'i  qudd,  dum  uiuat,  usque  ad  aurem  obgan- 

niat.  1030 

NA.  At  meo  merito  credo,     quid  ego  nunc  commemorem, 

Demipho, 
Singulatim,  qualis  ego  in  hunc   fuerim  ?      DE.  (bowing 

respectfully)  Noui  aeque  dmnia 
Tecum.     NA.  Merito  hoc  me<5  uidetur  f actum  ?     DB.  Mi- 

nume  gentium. 

Verum  iam  quando  accusando  fieri  infectum  n6n  potest, 
Ignosce.    orat,  cdnfitetur,  piirgat :  quid  uis  amplius  •?    1035 
PH.  (aside)  ]£nlm  uero  prius  quam  haec  dat  ueniam,  mihi 

prospiciam  et  Phaedriae. 


68  TEKENTI  [5. 9. 4»- 

(alouff)  Heiis,  Nausistrata !   prius  quam  huic  respdndes 

temere,  audi.     NA.  Quid  est  ? 

PH.  figo  minas  triginta  per  fallaciam  ab  illoc  abstuli. 
Eas  dedi  tuo  gnato ;  is  pro  sua  arnica  lerioni  dedit. 
CH.    Hem !     quid    ai's  ?     NA.    (with   supreme   contempt, 

to    Chremes)    Adedne    indignum    hoc    tibi    uidetur, 

fflius  1040 

Homo    adulescens    si   habet   unam    amicam,   tu   uxores 

duas  ? 

Nil  pudere  ?  quo  6re  ilium  obiurgabis  ?  responde  mihi. 
DE.   Faciet   ut  uoles.     NA.   Iinmo  ut  meam   iam   scias 

sententiam, 

Neque  ego  ignosco  neque  promitto  quicquam  neque  re- 
spondee  , 
Prius  quam  gnatum  uidero:  eius   iudicio   permitto  dm- 

nia.  1045 

Qudd  Is  iubebit  faciam.      PH.  Mulier  sapiens  es,  Nausi- 

strata. 
NA.  (to  Demiplio)   Satin  tibist  ?     DB.  Ita.     CH.   (aside) 

fmmo  uero  pulchre  discedo  et  probe 
£t  praeter  spem.     NA.  Tii  tuom  nomen  die  mihi  quid  sit. 

PH.  Phdrmio: 
Vdstrae  familiae   hercle   amicus   et   tuo   summus  Phae- 

driae. 
NA.  Phdrmio,  at  ego  ecastor  posthac  tibi,  quod  potero, 

quod  uoles  1050 

Faciamque  et  dicam.     PH.  Benigne  dicis.     IvA.  Pol  meri- 

tumst  tuom. 
PH.  Vin  primum  hodie  f  acere  quod  ego  gaudeam,  Nausi- 

strata, 
Et  quod  tuo  uiro  dculi  doleant  ?     NA.  Ciipio.     PH.  Me  ad 

cenam  uoca. 


6. 9. 66.]  PHORMIO.  69 

NA.  P61  uero  uoco.  PH.  Eamus  intro  hinc.  NA.  Fiat, 
sed  ubist  Phaedria 

Tiidex  noster  ?  PH.  lam  hie  faxo  aderit.  (All  go  into 
Chremes'  house  except  Phormio,  who  hurries  away  to 
hunt  up  Phaedria.)  CANTOR,  (to  the  audience)  Vds 
ualete  et  plaiidite.  1055 


70 


TABLE   OF   METKES. 


TABLE   OF  METKES. 


1-152. 
153-154. 

155. 

156. 

157. 

158-159. 
160-162. 

163. 

164-176. 
177-178. 

179. 

180. 
181-182. 

183. 

184. 

185. 

186. 

187-188. 
189-190. 

191. 

192-194  (195). 
196-215. 
216-230. 
231-232. 
233-251. 
252-253. 
254-314. 
315-347. 
348-464. 


iambic  senarii. 
trochaic  octonarii. 
trochaic  septenarius. 
iambic  octonarius. 
trochaic  octonarius. 
trochaic  septenarii. 
iambic  octonarii. 
iambic  quaternarius. 
iambic  octonarii. 
iambic  septenarii. 
trochaic  octonarius. 
trochaic  septenarius. 
iambic  octonarii. 
iambic  quaternarius. 
iambic  octonarius. 
trochaic  septenarius. 
iambic  octonarius. 
trochaic  octonarii. 
trochaic  septenarii. 
iambic  quaternarius. 
iambic  octonarii  (?).* 
trochaic  septenarii. 
iambic  senarii. 
trochaic  septenarii. 
iambic  octonarii. 
trochaic  septenarii. 
iambic  senarii. 
trochaic  septenarii. 
iambic  senarii. 


1  Verses  194-195  are  sometimes  treated  as  an  iambic  octonarius, 
sometimes  as  a  trochaic  octonarius  4-  a  trochaic  binarius  catalectic. 


TABLE   OF   METKES. 

465-468.  trochaic  octonarii. 

469-470.  trochaic  septenarii. 

471-478.  iambic  octonarii.    . 

479-480.  trochaic  octonarii. 

481-482.  trochaic  septenarii. 

483.  iambic  octonarius. 

484.  trochaic  septenarius. 

485.  trochaic  binarius  catal. 

486.  iambic  octonarius. 
487-489.  trochaic  septenarii. 

490.  iambic  senarius. 

491.  iambic  septenarius. 

492.  iambic  octonarius. 
493-495.  trochaic  septenarii. 

496.  iambic  octonarius. 

497-501.  trochaic  septenarii. 

502-503.  iambic  octonarii. 

504-566.  trochaic  septenarii. 

567-712.  iambic  senarii. 

713-727.  iambic  octonarii. 

728.  trochaic  octonarius. 

729.  trochaic  quaternarius  catal. 
730-731.  trochaic  octonarii. 

732.  trochaic  septenarius. 

733-734.  iambic  octonarii. 

735-738.  trochaic  octonarii. 

739-741.  trochaic  septenarii. 

742-747.  iambic  octonarii. 

748-794.  iambic  septenarii. 

795-819.  iambic  octonarii. 

820-827.  iambic  septenarii. 

[828.  iambic  octonarius  (?).] 

829-840.  iambic  octonarii. 

841-883.  trochaic  septenarii. 

884-1010.  iambic  senarii. 

1011-1055.  trochaic  septenarii. 


71 


NOTES. 


DIDASCALIA. 

THESE  short  notices,  giving  information  regarding  the  author  of 
the  play,  the  date  of  its  production,  the  success  attending  it,  and 
other  details,  were  known  as  Sida.a-Ka\iai,  didascaliae.  They  were 
first  systematically  prepared  by  Alexandrine  scholars,  from  whose 
example  the  Roman  grammarians,  after  the  middle  of  the  second 
century  B.C.,  adopted  the  custom  also  for  Latin  dramas.  The  most 
important  of  these  grammarians  was  M.  Terentius  Varro  (de  actis 
scaenicis  lib.  III.;  see  Introd.,  p.  xxvi  f.).  Their  works  formed  the 
source  of  the  didascaliae  for  the  plays  of  Terence,  though  it  was 
probably  the  grammarians  of  the  Augustan  age  who  first  inserted 
them  in  the  Mss. 

Ludis  Romania  :  these  games,  celebrated  in  September  in  honor 
of  Jupiter  and  lasting,  in  the  time  of  Terence,  about  ten  days,  were 
established  m  remote  antiquity,  doubtless  to  commemorate  some 
Roman  victory  —  according  to  Cicero,  that  over  the  Latins  at  Lake 
Regillus.  They  were  the  oldest  and  most  important  of  all  the  Ro- 
man games.  Gladiatorial  combats,  rope-dancing,  and  theatrical 
performances  formed  the  principal  features. 

aedilibus  curulibus :  the  magistrates  to  whom  was  intrusted 
the  management  of  the  public  games. 

egit :  brought  out.    See  Introd.,  p.  xxx. 

L.  Ambiuius  Turpio  :  a  popular  actor  and  theatrical  manager, 
who  brought  out  all  the  plays  of  Terence.  Cicero,  de  sen.  48, 
makes  Cato  refer  to  him  as  follows  :  Ut  Turpione  Ambiido  magis 
delectatur  qui  in  prima  cauea  special,  delectatitr  tamen  etiam  qui 
in  ultima,  etc.  Since  Cicero  represents  this  dialogue  as  having 
taken  place  in  150  B.C.,  it  seems  probable  that  he  was  still  active 
at  that  date. 

L.  Atilius  is  known  to  us  only  from  the  didascaliae  to  the  plays 
of  Terence.  For  the  spelling  Atilius,  see  App. 

72 


NOTES.  73 

modos  fecit,  etc. :  music  by  Flacciis,  slave  of  Claudius,  the 
genitive  depending,  as  often,  upon  seruos  (nom.  sing.),  understood. 
See  Introd.,  p.  xxxviii. 

tibia  inparibus :  i.e.  of  unequal  size,  one  probably  for  treble, 
the  other  for  bass.  Codex  A  always  has  TIBlS  instead  of  TIBIIS. 

tota  means  that  the  music  was,  throughout  the  play,  of  the 
character  indicated.  Sometimes  different  kinds  of  tibiae  (see 
Introd.,  p.  xxxviii  f.)  were  used  in  the  same  play,  to  vary  the  music 
according  to  the  character  of  the  scene. 

Apollodoru  :  archaic  form  of  the  genitive  ;  cf.  Greek  -ov.  The 
Hecyra  also  seems  to  have  been  borrowed  from  him. 

Epidicazomenos :  one  who  claims  a  girl  in  marriage,  as  being 
next  of  kin. 

facta  IIII.  :  produced  fourth  in  order.  It  was  really  the  fifth  ; 
but  as  the  first  attempt  to  bring  out  the  Hecyra  proved  a  failure, 
that  play  seems  to  be  here  disregarded. 

The  fragment  of  didascalia  found  in  the  Bembinus  (A)  refers  to 
a  reproduction  of  the  play  in  141  B.C.  See  Introd.,  p.  xlix  f, 

G.  SULPICI  APOLLINARIS  PERIOCHA. 

On  the  abbreviation  G.  instead  of  (7.,  see  App. 

In  the  second  century  A.D.,  there  was  a  great  revival  of  interest 
in  archaic  Latin.  It  was  during  this  period  that  brief  summaries 
(Treptoxcu),  which  in  the  case  of  poets  are  in  metrical  form,  were 
prefixed  to  works  of  the  early  writers ;  see  Introd.,  p.  xxvii.  In  these 
productions,  the  prosody  and  the  language  of  the  writers  in  hand 
were  carefully  imitated.  Such  summaries  were  written  by  Sulpicius 
Apollinaris  for  the  different  books  of  Vergil's  Aeneid,  and  for  the 
plays  of  Terence.  Those  to  the  comedies  of  Plautus  belong  to  the 
same  period. 

7.  On  the  scansion  of  this  verse,  see  App. 

8.  aniaret :   Sulpicius  commonly  uses  the  present  in  principal 
clauses,  very  rarely  the  perfect ;  but  in  subordinate  clauses  with 
the  subjunctive,  as  here,  he  uses  only  the  imperf .     (Hec.  Per.  6  is 
corrnpt.) 

12.  adgnitam :  archaic  for  agnitam,  as  in  And.  Per.  11  and 
Hec.  Per.  11.  See  App. 


74  PHORMIO. 

DRAMATIS  PERSONAE. 

No  list  of  dramatis  personae  is  found  in  the  Mss.  of  any  play 
of  Terence.  In  some  of  the  Mss.  (CFP),  however,  there  is  prefixed 
to  each  play  a  picture  of  masks  representing  the  characters  taking 
part  in  that  particular  play.  At  the  beginning  of  each  scene  in 
the  same  Mss.  are  pictures  of  the  actors  themselves,  as  they  are 
supposed  to  appear  at  some  critical  moment  in  the  scene.  These 
pictures  must  be  regarded  as  representing  post-Terentian  presen- 
tations of  the  plays,  as  actors  on  the  Roman  stage  did  not  wear 
masks  in  the  time  of  Terence. 

The  names  in  fabulae  palliatae  are  commonly  Greek  names, 
with  Latin  forms,  though  they  are  not  always  the  same  as  those  hi 
the  Greek  original.  Such  names  are  usually  chosen  or  invented 
as  will  in  themselves  convey  some  idea  of  the  characters  to  whom 
they  severally  belong.  For  instance,  in  the  present  play,  Davos 
means  one  of  the  ASoi  (identified  by  the  ancients  with  the  Daci); 
Geta,  one  of  the  Getae ;  Phaedria,  the  jolly,  good-natured  fellow 
(cf.  0euS/>6s);  Hegio,  the  leading  lawyer  (cf.  r/7<fo/«u  ?) ;  Cratinus, 
the  man  of  power  (cf.  /cpdros) ;  Crito,  the  judge  (cf .  Kplvu} ;  Dorio, 
lover  of  gifts  (Swpov);  Chremes,  the  man  who  is  always  hemming 
and  hawing  ([XP^/*«]»  xp^"'"r<'A"*t) ;  Sophrona,  the  discreet  woman 
(o-w^pwv);  Demipho,  a  representative  man  (cf.  A-r)/j.o<puv) ;  Nausis- 
trata,  the  woman  on  the  war-path ;  Antipho,  the  talker-back,  the 
disrespectful ;  Phanium,  the  radiant  one  (cf.  0op6s);  Pamphila,  be- 
loved of  all.  Phormio  seems  to  be  the  historical  name  of  a  parasite. 

PROLOGUS. 

The  prologue  seems  from  Heaut.  Prol.  1-2  and  Hec.  Prol.  II,  1 
to  have  been  usually  given  to  one  of  the  younger  actors,  who  was 
attired  for  the  occasion  in  a  particular  costume.  Into  his  mouth 
the  poet  put  what  he  himself  wished  to  say  to  the  audience. 

1.  poeta  uetus  refers  to  Luscius  Lanuvinus  known  chiefly 
from  the  allusions  to  him  in  the  prologues  of  Terence  and  in  the 
commentary  of  Donatus.  Volcacius  Sedigitus  (see  Introd.,  p.  xxvi) 
assigns  him  to  the  ninth  place  among  the  ten  noteworthy  writers  of 
palliatae.  Vetus  commonly  refers  to  what  has  long  existed  and  still 


NOTES.  75 

exists ;  antiquos,  to  what  has  long  since  passed  away.  In  14, 
Terence  calls  himself  nouos.  Lanuvinus  did  all  in  his  power  to 
injure  Terence  and  prevent  the  successful  production  of  his  plays. 
The  decided  success  of  the  Eunuchus,  which  had  been  brought  out 
shortly  before  this  and  to  which  verses  3  ff.  allude,  shows  how 
ineffectual  these  attempts  were. 

Notice  the  alliteration  in  the  first  verse.  Alliteration  seems  to 
be  much  more  common  in  the  early  period  of  a  literature  than 
during  the  period  of  its  maturity.  It  is  far  more  frequent  in 
Plautus  than  in  Terence  (though  very  common  in  the  latter's  pro- 
logues), and  in  classical  times  is  comparatively  rare.  The  same 
is  true  of  Anglo-Saxon,  as  compared  with  later  English  literature. 

2.  transdere  :  for  traders.     See  A  pp. 

4.  antehac  :  always  dissyllabic  in  Terence. 

5.  oratione  :  portrayal  of  character ;  scriptura :  style.     Notice 
the  chiasmus,  one  of  the  most  common  means  of  producing  em- 
phasis in  Latin  ;  cf.  13  f.*  20,  etc. 

7.  ceruam  fugere  :  in  the  sense  of  ceruam  fugientem.  The  par- 
ticipial construction  with  verbs  of  perception  is  comparatively,  rare 
in  early  Latin.  In  classical  times,  such  verbs  take  either  (1)  the  inf. 
with  subject  ace.,  a  construction  which  calls  into  prominence  the 
performance  of  the  act ;  or  (2)  a  participle  agreeing  with  an  object, 
in  which  case  special  attention  is  called  to  the  object  itself,  while 
engaged  in  performing  the  act.  With  verbs  like  uidere  these  two 
constructions  express  practically  the  same  thing.  If  one  sees  that 
a  person  is  running,  he  sees  the  person  running,  and  vice  versa. 
With  such  a  verb  as  audire,  however,  the  usage  is  more  strict, 
since  one  may  hear  that  a  person  is  singing  (e.g.  in  a  neighboring 
town)  without  actually  hearing  that  person. 

These  verses  refer  to  something  objectionable  in  the  writings  of 
Luscius.  Scenes  of  this  sort  would  be  more  suitable  for  tragedy, 
and  are  avoided  by  Terence,  of  whom  Euanthius  (4th  cent.  A.D.), 
in  his  preface  to  the  plays,  says :  (Terentius)  temperauit  affectum, 
ne  in  trafjoediam  transiliret. 

9.  quom :  always  thus  spelled  till  after  Plautus  and  Terence. 
Cicero  probably  wrote  cum,  but  quum  did  not  come  into  use  till 
several  centuries  later. 

stetit :  for  the  long  final  syllable,  see  Introd.,  p.  xl.     Quom, 


76  PHORMIO. 

even  in  a  causal  or  adversative  sense,  is  regularly  in  Plautus,  and 
commonly  in  Terence,  construed  with  the  indicative.  The  subjunc- 
tive constructions  represent  a  comparatively  late  growth,  due  to  the 
influence  of  the  subjunctive  gwi-clauses,  quom  itself  being  a  relative 
(from  the  same  root  as  qui)  with  some  form  of  tempus  understood 
as  its  antecedent.  We  should  here  expect  the  subjunctive  of  in- 
direct discourse,  but  the  speaker  prefers  to  keep  his  own  point  of 
view  in  the  gwom-clause.  Stare,  in  the  sense  of  succeed,  as  opposed 
to  cadere  (Hor.  Ep.  II,  1, 176),  exigi  (Hec.  15),  and  loco  moueri  (32), 
was  first  used  of  an  actor  who  pleased  the  audience  and  so  was 
allowed  to  remain  upon  the  stage  (cf.  Hec.  36),  then  of  the  poet  (Hor. 
Sat.  I,  10,  17),  and  of  the  drama  itself,  as  here  and  And.  27,  Hec. 
12.  Cf.  restituit  locum  (32),  restitui  in  locum  (Hec.  21),  and  tutari 
locum  (Hec.  42). 

10.  actoris  :  the  dominus  gregis,  manager  and  leading  actor  of 
the  company.  See  Introd.,  p.  xxx. 

12-21.  The  whole  burden  of  the  proPbgues  of  Terence  consists 
of  answers  to  the  unkind  criticisms  he  received  from  his  enemies. 
The  prologues  of  Plautus,  on  the  other  hand,  show  a  great  variety 
of  subject  matter  and  commonly  explain  the  plot  of  the  play. 

13.  lacessisset :  perfects  in  -etui,  -eui,  -oui,  -iuf,  often  drop  the 
u  before  er,  ist,  or  iss  of  an  ending.     In  such  cases,  the  e  before  r 
(after  a,  e,  o)  and  the  i  before  st  and  ss  coalesce,  except  in  com- 
pounds of  ire,  with  the  preceding  vowel.    Except  in  the  case  of 
verbs  with  monosyllabic  stems,  Terence  probably  used  the  full 
forms  only  at  the  end  of  a  verse. 

14.  nouos :  the  noin.  and  ace.  sing,  of  the  2d  decl.  ended,  in  the 
earliest  times,  in  -os  and  -om.     These  endings  became  -MS  and  -um 
about  the  middle  of  the  third  century  B.C.,  except  in  words  in  which 
they  were  preceded  by  u  (either  vowel  or  consonantal).     In  such 
words,  the  old  endings  -os  and  -om  remained  in  common  use  till 
after  the  Augustan  period  (cf.  Quintil.  1,  7,  26).     In  some  cases, 
when  the  -os  or  -om  was  preceded  by  qu,   these  endings  were 
changed  to  -its  and  -um,  and  the  uu  was  avoided  by  changing  qu  to 
c,  e.g.  ecus  occurs  for  equos. 

prologum  :  one  might  expect  pro-  to  correspond  with  irpd\oyos. 
The  long  o  is  probably  due  to  association  with  the  Latin  pro  ;  cf. 
prdpino 


NOTES.  77 

15.  nisi  haberet :  a  sort  of  afterthought,  added  as  a  second 
protasis  for  posset,  which  has  already  served  as  the  conclusion  of 
si  .  .  .  lacessisset. 

16-17.  in  medio  .  .  .  palmam  esse  positam  :  i.e.  that  compe- 
tition for  literary  fame  is  open  to  all. 

17.  qui  .  .  .  tractant:  for  this  reading,  see  App.    A  relative 
clause  in  indirect  discourse,  unless  it  depends  directly  xipon  another 
subjunctive,  commonly  takes  in  Terence  the  same  mood  as  in  direct 
discourse  ;  e.g.,  in  the  present  play,  4  fecit,  9  stetit,  21  adlatumst, 
251  eueniet,  424  dico,  481  attinet,  Ad.  14,  67  (bis),  etc.  Exceptions 
are  rare,  e.g.  455  sitfactnm,  87(5  egerint. 

arteni  musicam  :  dramatic  art.  The  term  musica  (/nouo-t/c^)  is 
derived  from  Musa  (MoOo-o),  and  originally  included  all  that  the 
Muses  were  supposed  to  preside  over,  i.e.  all  literary  and  artistic 
pursuits.  Our  "music"  represents  a  later  and  highly  specialized 
use  of  the  term. 

18.  r^icere  :  probably  to  be  read  with  synizesis  relcere. 

20.  audisset  bene :  i.e.  would  have  heard  himself  well  spoken 
of.     Cf.  aKoveiv  eD. 

21.  sibi  6sse  :  see  Introd.,  p.  xl  f. 

rellatum  :  assimilated  from  redl.,  the  original  prefix  being  red 
as  seen  in  red-eo,  red-do.  Cf.  relliquias  (Verg.  Aen.  I,  30). 
See  App. 

23.  quom  :  see  note  on  9.     Cf.  Eun.  343,  and,  for  the  subj.,  Ad. 
166  f. 

24.  animum  attendite :  felt  as  constituting  a  single  verbal  con- 
ception, and  hence  taking  a  direct  object,  quid  uelim.     Cf.  animum 
aduertere,  which  became  animaduertere. 

25.  Epidicazomenoii :  see  Introd.,  p.  xlvi. 

27.  qui  aget :  see  Introd.,  p.  xlii. 

28.  parasitus  (irap6.  +  <T?TOS):  table  companion,  originally  in  a 
good  sense,  but  in  time  it  came  to  mean  one  who  "sponged"  his 
living  from  others.      These  parasites  were  often  allowed  to  pay 
for  their  meals  by  entertaining  the  company  with  stories,  songs, 
etc.     In  some  respects  they  are  comparable  with  Shakespeare's 
"fools." 

31.  This  and  the  following  verse  alludes  to  the  first  attempt  to 
produce  the  Hecyra,  on  which  occasion  the  troupe  (yrex)  was 


78  PHORMIO. 

hissed  off  from  the  stage  (motus  locost);  while  33-34  alludes  to 
the  successful  productions  of  the  Heauton  timorumenos  and  the 
Eunuchus.  See  Introd.,  p.  xxi. 

33.  restituit :  for  another  reading,  see  App. 

ACT   I,    SCENE   1. 

Davus  is  a  irptouirov  irporaTiKbv,  i.e.  a  character  used  only  for  the 
introductory  scene  of  a  play.  Terence  is  fond  of  such  characters. 

35.    summus  :  most  intimate. 

popularis :  fellow-countryman.  As  Davus  and  Dacus  were  loosely 
used  by  the  ancients  as  synonymous  terms  (see  note  on  dramatis 
personae,  p.  74),  and  as  the  Daci  and  the  Getae  were  related  tribes 
on  the  banks  of  the  Danube,  Terence  regards  Davus  and  Geta  as 
belonging  to  the  same  people.  Perhaps,  however,  popularis  should 
be  taken  in  the  more  general  sense  of  associate,  fellow  slave. 
Cf.  Sail.  Cat.  24,  1;  52,  14;  22,  1. 

36-37.  ratiuncula,  relicuom  pauxillulum :  notice  the  tone  of 
the  diminutives,  a  little  account,  a  trifling  balance. 

relicuom :  always  tetrasyllabic  in  the  older  writers,  and  probably 
until  the  Silver  Age. 

38.  ut  conficerem :  sc.  orauit. 

39.  eius  modifies  the  substantive  implied  in  erilem. 

43.  quod  ille  linciatim  :  see  Introd.,  p.  xl  f . 

demensum  :  the  allowance  which,  according  to  Plaut.  Stich.  60, 
was  dealt  out  to  the  slaves  on  the  calends  of  each  month.  Donatus 
on  this  passage  says  a  slave  received  four  modii  (about  a  bushel) 
of  corn  each  month  ;  Seneca,  Ep.  80,  §  7,  speaks  of  five  modii  and 
five  denarii,  in  a  similar  connection. 

44.  genium :  his  very  self.    By  genius  is  meant  a  sort  of  guardian 
spirit  that  was  supposed  to  be  one's  constant  companion  from  the 
cradle  to  the  grave,  representing  in  fact  his  very  existence  and 
watching  over  his  welfare.     Cf.  Plaut.  Aul.  724  f .  Egomet  me  de 
fraudaui  animumque  meum  geniumque  meum;  also  True.   184; 
lA-cil.  26,  75  f. ;  Sen.  Ep.  80,  §  5.     See  App. 

defrudare :  in  Ter.  Ad.  246,  defraudat  has  the  better  authority. 

suom  :  see  note  on  14. 

46.    The  omission  of  sit  seems  less  strange  on  account  of  the 


NOTES.  79 

half-exclamatory  character  of  quanto  labore  partum.  The  copula 
is  very  rarely  omitted  except  when  it  would  be  in  the  indicative 
mood  ;  and  in  Plautus  its  omission  is  rare  under  any  circumstances. 
autem  commonly  denotes  opposition,  but  occasionally  weakens 
into  a  particle  denoting  merely  change  or  transition  of  any  sort. 

47.  ferietur  alio  munere:  translate  by  the  corresponding  Eng- 
lish colloquialism. 

48.  natalis  dies :  the  extravagance  of  birthday  festivities  among 
both  Greeks  and  Romans  became  proverbial.     Observe  the  proce- 
leusmatic.    See  Introd.,  p.  xxxiv. 

49.  initiabunt :  perhaps  an  allusion  to  the  ceremony  accom- 
panying a  child's  admission  to  the  family  sacra.     These  sacra 
consisted  of  invocations,  libations,  and  sacrifices  to  the  family  gods, 
the  paterfamilias  acting  as  priest  on  such  occasions.     The  allusion 
may  be,   however,  to  initiation   into   the    Eleusinian    or  other 
mysteries.    See  App. 

50.  causa :  pretext. 

ACT  I,  SCENE  2. 

60.  uideon :  in  cases  like  this,  editors  too  commonly  say  that 
n(e)  =  nonne.     Ne  is  non-committal.     The  answer  yes  is  some- 
times  expected,  but    it    is  not  suggested  by  the  form    of    the 
question.     In  such  cases,  the  use  of  -ne  produces  a  certain  rhetori- 
cal effect,  the  implication  being  that  the  answer  may  safely  be  left 
to  be  inferred.    Cf.  "Do  I,  or  do  I  not,  look  like  an  honest  man  ?" 

61.  rufus :   red-headed.     Davus  wore  a  red  wig,  red  being  the 
conventional  color  for  slaves. 

62.  ego  :  contrasted  with  tibi,  and  heightening  the  strangeness  of 
the  coincidence ;  /  was  trying  to  find  YOU,  but  YOU  have  come  to 
ME,  instead.     For  the  places  of  emphasis  in  a  Latin  sentence,  see 
note  on  200. 

obuiam  conabar :  we  may  either  understand  ire,  fieri,  esse,  or 
the  like  (cf.  196, 617,  etc.),  or  else  regard  conari  as  used  absolutely, 
embodying  within  itself  a  certain  idea  of  motion.  Cf.  Heaut.  24U, 
dum  moliuntur,  dum  conantur,  annus  est. 

em  (TJV)  :  look  !  here  !  etc.,  while  hem  is  an  expression  of  sur- 
prise, joy,  grief,  etc.,  well !  what  I 

63.  lectumst :   iVs  good  money,  lit.  picked  out,  choice,  probably 


80  PHOKMIO. 

with  reference  to  the  danger  of  getting  counterfeit  coins.  However, 
as  the  standard  weight  of  coins  varied  at  different  times,  and  as 
there  would  naturally  be  more  or  less  prejudice  against  the  lighter 
coins,  lectum  may  here  refer  to  weight.  Cf.  Pseud.  1149  (1132) 
argenti  lectae  minae;  Bacch.  882  nummos  probos;  Pers.  437  f., 
526. 
numerus :  sc.  nummum  (nummorum). 

54.  amo  te  and  the  fuller  form,  merito  te  amo,  are  common 
formulae  for  expressing  thanks  in  colloquial  Latin.     Cf.  amabo 
and  si  me  amas,  corresponding  to  our  if  you  please.     Sheridan 
uses  the  idiom  in  his  Rivals :  "  Let  me  bring  him  down  at  a  long 
shot,  a  long  shot,  Sir  Lucius,  if  you  love  me."     So  Shakes.  King 
Lear,  Act  4,  Sc.  5:  "/'M  love  thee  much,  let  me  unseal  the  letter." 

neclexisse  :  when  the  subject  of  an  infinitive  can  be  easily  sup- 
plied from  the  context,  as  here,  it  is  frequently  omitted  in  colloquial 
Latin,  even  when  it  does  not  refer  to  the  subject  of  the  principal 
verb  ;  cf.  206,  315,  460,  610,  627,  681,  796,  801, 1014, 1022,  1025. 

55.  The  "corruption  of  the  times"  has  been  a  common  subject 
of  complaint  in  all  ages.    The  "good  old  times"  are  ever  praised 
at  the  expense  of  the  degenerate  present. 

adeo  refers  to  what  follows  ;  cf.  153. 

59.  modo  ut  (here  approaching  dummodo  in  meaning)  com- 
monly expresses  a  wished-for  result ;  cf.  773  ;  And.  409. 

sis  =  si  uis  (pi.  sultis  =  si  uoltis},  a  colloquial  expression,  com- 
monly used  to  soften  the  tone  of  an  imperative.  Cf.  sodes,  103. 

60.  quoius  .  .  .  perspexeris :  an  adversative  clause  in  indirect 
discourse,  which  at  the  same  time  characterizes  its  antecedent. 
A.  &  G.  320,  e ;  B.  283,   3  ;  G.  634  ;  H.  515,  III.     Quoius  became 
cuius  about  the  beginning  of  the  Ciceronian  period.     Quoi  seems 
to  have  been  retained  till  much  later,  to  avoid  confusion  between 
cui  and  qui  (Quintil.  1,  7,  27). 

61.  uerere:    for  uereris,  as  always  in  Terence;   see  Introd., 
p.  xlv,  4. 

ubi :  relative,  in  ichich  matter;  quid,  interrogative. 

62.  dico :  not  to  be  confused  in  meaning  with  dlco.    The  last 
foot  of  an  iambic  senarius  is  always  pure. 

63.  Chremem  (corresponding  to  ~Kptwv)  :  more  common  than 
Chremetem  in  Terence.     Cf.  the  genitive  Chremi  (corresponding 


NOTES.  81 

to  XpeVou,  and  preserved  by  ancient  grammarians  as  a  reading  in 
And.  368)  side  by  side  with  Chremetis,  and  the  vocative  Chreme 
(corresponding  to  XpeV»j),  side  by  side  with  Chr  ernes. 

64.  quidni:  a  reminiscence  of  the  time  when  nl  (m-~)  and  ne 
(n<T-)  were  used  in  the  sense  of  non.  Cf .  ni-mirum,  nl-si  =  si  ni ; 
and  for  ne,  ne  .  .  .  quidem,  ne-scio  (e  according  to  some  authorities), 
ne-queo,  etc. 

gnatus :  the  substantive  is  thus  written  in  Plautus  and  Terence, 
while  natus  is  the  form  of  the  participle. 

66.  in  Lemnum :  Terence  elsewhere  uses  the  ace.  of  the  town 
or  island  to  which,  without  the  preposition  (cf.  567,  837, 907).     The 
preposition  is  here  used  on  account  of  the  following  in  Ciliciam 
for  the  sake  of  symmetry,  as  Terence  never  omits  the  preposition 
with  names  of  countries. 

Place  in  which,  in  the  case  of  islands  (regardless  of  their  size), 
is  sometimes  expressed  by  the  loc.  {e.g.  680,  942,  1013),  sometimes 
by  the  abl.  with  in  (e.g.  873,  1004). 

Place  from  which,  in  similar  cases,  is  expressed  in  Terence  by 
ex  (e)  with  the  ablative  (three  times) . 

67.  hospitem  antiquom  :  before  there  were  any  inns  or  hotels 
for  the  entertainment  of  travelers,  it  was  customary  for  people 
of  different  localities  to  form  agreements  to  entertain  each  other 
whenever  occasion   might  arise.    This  relation  between  the  two 
parties  was  called  hospitium,  and  was  often  handed  down  to  the 
descendants  of  the  original  parties  to  the  compact.     The  relation 
did  not  necessarily  involve  personal  friendship. 

For  the  spelling  of  antiquom,  see  note  on  14. 

68.  Donatus  says  this  verse  refers  to  the  presents  which  hospitea 
were  wont  to  give  their  guests.    It  is  perhaps  better  to  make  it 
refer  to  opportunities  for  acquiring  a  fortune. 

69.  quoi :    relative   (what!  to  one),   who  had  so  much,    etc. 
Demipho  is  here  represented  as  avaricious,  in  order,  later  on  (120  f.), 
to  heighten  the  effect  of  his  son's  daring. 

70.  O,  regem  me,  etc.:  i.e.  he  would  have  made  a  very  dif- 
ferent use  of  wealth.     Rex  frequently  means  rich  man,  patron, 
cf .  338.     Davus  may  mean,  however,  that  if  he  were  only  ruler,  he 
would  put  a  stop  to  such  amassing  of  wealth.    The  position  of 
regem  seems  to  favor  this  interpretation  ;  see  note  on  200. 


82  PHOKMIO. 

oportuit :  the  statement  of  a  propriety  that  actually  existed  in 
the  past. 

71.  hie:  see  App. 

72.  provinciam  =  officium. 

73.  usus  uenit :  a  common  formula  ;  cf .  Heaut.  553  ;  556  ;  557. 

74.  meminl :  when  used  of  personal  experience,  commonly  takes 
the  present  infinitive  instead  of  the  perfect.    A.  &  G.  336  A,  note  1 ; 
G.  281,  2,  N.  ;  H.  537,  1. 

deo  :  identical  with  the  genius.    See  note  on  44. 

76.  scapulas  perdidi :    cf.   Plaut.    Epid.    91,   corium  perdidi. 
The  scapulae  are  frequently  referred  to  in  comedy  as  the  part  of  a 
slave  that  suffered;  cf.  Plaut.  Asin.  315  ;  547  ;  Cas.  956  (G.  &  S.), 
etc. 

77.  istaec  :  either  fern.  plur.  (scapulae),  or  neut.  plur.     For  this 
form  of  the  fern.,  cf.  And.  656,  haec  nuptiae  (according  to  Donatus) 
and  Plaut.  Men.  520,  istaec  contumeliae  ;  766 ;  Pers.  498,  etc. 

namque,  etc. :  see  App. 

78.  aduorsum  stimulum  calces :  sc.  iactare,  or  some  similar 
word.     Cf.  the  Greek  proverb,  Trpbs  TO.  Kevrpa.  ^   XaKrife'rw.     Cf. 
Plaut.  True.  768,  si  stimulos  pugnis  caedis,  manibus  plus  dolet. 

79.  obsequi  quae  uellent :  a  clause  dependent  upon  an  inf. 
sometimes  takes  the  subj.  where  the  sense  seems  to  call  for  the 
ind.     This  is  probably  to  be  accounted  for  by  the  fact  that  the  inf. 
is  especially  frequent  in  indirect  discourse,  representing  the  princi- 
pal verb  of  the  direct  form.     Since,  in  indirect  discourse,  subordi- 
nate clauses  depending  upon  these  infinitives  take  the  subj.  (see, 
however,  note  on  17),  a  feeling  might  easily  arise  that  when  any 
subordinate  clause  depended  upon  an  inf.,  the  subj.  was  admissible. 

uti  foro :  i.e.  manage  things  in  such  a  way  as  best  to  serve  your 
own  interests. 

80.  noster:  this  pronoun  is  freely  used  to  designate  different 
members  of  the  household,  e.g.  the  master  (cf.  110,  117),  the  mis- 
tress (Hec.  188),  her  daughter  (Heaut.  660),  a  slave  (Eun.  678). 

Nihil  and  nemo  are  frequently  strengthened  in  colloquial  speech 
by  quicquam  and  quisquam  ;  cf.  250. 

The  verb  (here  fecit)  is  often  omitted  in  hurried  narration ; 
cf.  100,  101,  102,  104,  106  f.,  113,  133,  142,  144,  440,  482,  etc. 

hie  :  with  a  gesture  toward  the  house  of  Chremes. 


NOTES.  03 

86.  ludum:  school,  i.e.  for  music  and  dancing  (see  109,  144); 
cf .  Plaut.  Kud.  43,  earn  uidit  ire  e  ludo  fidicino  domum. 

reducere  :  for  the  orthography,  see  App. 

87.  See  App. 

88.  exaduorsum  ilico  :  exactly  opposite ;  cf .  Plaut.  Most.  1064, 
ilico  intra  limen  isti  astate ;  Merc.  910,  istic  .  .  .  ilico ;  Rud.  328, 
ilico  hie ;  836 ;  878  ;  Ter.  Ad.  156. 

ilico :  probably  from  in  and  loco,  though  the  i  is  supposed  by 
some  to  be  the  locative  of  is. 

89.  tonstrina :   barber-shops  were  favorite  lounging- places  in 
Athens;  cf.  Plaut.  Amph.  1011  ff. ;  Asin.  343  ff. ;  408  ff. 

90.  dum  .  .  .  iret:  A.  &  G.  328  ;  B.  293,  III,  2  ;  G.  572. 

91.  illi:  the  locative  of  ille,  —  illic;  cf.  572,  772.     See  App. 

92.  mirarier:  the  inf.  of  a  verb  presents  the  idea  in  its  most 
indefinite  form,  and  leaves  the  hearer,  or  reader,  to  apply  it  in  his 
own  way  to  suit  the  occasion.     Here  the  context  shows  that  the 
speaker  is  narrating,  and  the  idea  of  the  verb  will  be  understood 
accordingly  as  introducing  a  new  point  in  the  narrative.    This 
"historical  inf."  is  very  common  in  Latin  comedy.     For  other 
applications  of  the  general  idea  introduced  by  the  inf.,  see  note 
on  153.    For  the  Terentian  use  of  the  inf.  in  -ier,  see  Introd.,  p. 
xlv,  5. 

95.  uiciniae :  locative,  in  apposition  with  hie  ;  cf.  Plaut.  Bacch. 
205  and  Mil.  273,  hie  proxumae  uiciniae ;  Ter.  And.  70,  hue 
uiciniam.  It  might,  however,  be  taken  as  partitive  genitive;  cf. 
Heaut.  110,  istuc  aetatis ;  Plaut.  Capt.  382,  adhuc  locorum. 

97.  It  was  customary  among  both  Greeks  and  Romans  to  lay 
out  the  body  of  the  dead  opposite  the  entrance  to  the  house,  with 
the  feet  turned  toward  the  outer  door.     The  body  would  thus  be 
visible  from  without. 

98.  extra :  except.     This   use  belongs  to  colloquial  Latin ;  cf. 
Plaut.   Amph.    833,  extra  unum  te;  Ennius  46   (Ribbeck,  Frag. 
Trag.)   extra  me;    and  the  English   expressions    "outside  of," 
"aside  from." 

101.    commorat :  see  note  on  13  for  this  contracted  form. 
ibi :  this  use  of  ibi,  introducing  another  step  in  the  narrative 
often  in  the  combination  ibi  turn),  belongs  to  colloquial  Latin. 


84  PHORMIO. 

102.  eamus  uisere  :  the  infinitive  is  used  in'  Terence  to  express 
purpose  after  dare,  ire,  introire,  mittere,  but  not  after  uenire. 

103.  sodea :    if  you  please,  contracted  from  si  audes,  audere 
being  connected  with  avidus  and  originally  meaning  desire,   be 
eager  for,  etc.    The  transition  from  this  idea  to  that  of  daring 
may  be  easily  traced. 

104.  Notice  the  change  of  tense  ;  cf.  135  f .,  943. 

quo  magis  diceres,  etc.  (as  a  circumstance,}  on  account  of  which 
one  might  say  so  with  all  the  more  reason  (might  be  mentioned  the 
fact  that}  there  was  no,  etc. 

dicerea  :  a  potential  subj.  from  a  past  point  of  view. 

107.  uia :  the  very  essence. 

bonl:  excellence  as  regards  personal  appearance,  i.e.  beauty. 

108.  ineaaet  extinguerent :  the  whole  scene  is  so  vividly  before 
him  that  Geta  uses  a  tense  strictly  appropriate  only  for  present  time. 

forma :  figure ;  formam :  beauty  ;  cf .  138. 

109.  ille  :  see  Introd.  p.  xl. 

111.   scin :  i.e.  scisne.     Cf.  uiden  (for  uidesne). 
quam  and  tarn  are  often  used  with  verbs  in  early  Latin  to  denote 
degree ;  cf.  65. 

113.  ut  sibi  eiua  faciat  copiam  :  that  she  allow  him  to  meet  her. 
8iua :  for  the  eius  of  later  times.     It  is  often  monosyllabic  in 

Terence,  as  185  (?),  483 ;  Eun.  131. 

enim :  not  for,  but  indeed.  This  use,  common  in  Plautus  and 
Terence,  is  occasionally  found  even  in  Cicero  and  Caesar  and  is 
preserved  in  the  familiar  enimuero. 

BO  negat :  says  she  won't. 

114.  ait  and  ais,  regularly  dissyllabic  in  comedy;  ain,  on  the 
contrary,  is  always  monosyllabic. 

ciuem  Atticani :  the  honor  of  female  citizens,  both  by  law  and 
custom,  was  surrounded  with  the  greatest  sanctity. 

115.  uxorem  uelit :  the  object  (here  earn)  is  frequently  omitted 
where  it  may  be  easily  supplied.    Cf.  136,  296,  320,  662,  727,  830, 
975,  etc. 

117.   quid  ageret :  an  indirect  deliberative  question. 
nescire :  see  note  on  92. 

120.  The  interrogative  particle  is  frequently  omitted  in  colloquial 
Latin. 


NOTES.  85 

120-121.  ille  .  .  .  1111:  notice  the  strongly  contrasted  positions, 
H  E  give  H  i  M,  etc.  See  note  on  200. 

122.  quid  fiat :  an  indirect  quotation  of  the  preceding  quid  fit, 
just  as,  in  answer  to  the  question  What  did  the  man  do?  one  might 
reply  What  did  he  do?  (with  rising  inflection).    There  is  no  ellipsis 
of  Do  you  ask?  in  such  cases  in  English,  as  is  shown  by  the  fact 
that  our  question  is  What  did  he  do?  instead  of  What  he  did?    So 
here  no  definite  ellipsis  of  rogasne  was  felt,  but  quid  fiat?  is  merely 
the  echo  of  the  preceding  quid  fit?  the  change  of  mood  showing 
that  the  question  is  a  quotation.     Cf.  419,  685,  988,  1001,  and  note 
on  nossem,  382.    Sometimes,  however,  the  original  mood  is  retained 
unchanged  ;  e.g.  389,  999. 

123.  qui :  see  note  on  130. 

perduint :  the  archaic  optatives  duint  and  perduint  are  found  in 
Terence  only  at  the  end  of  an  iambic  verse,  or  half-verse. 

125  f.  A  law  of  Solon  required  that,  in  case  a  person  died  with- 
out male  issue,  leaving  only  a  daughter,  her  nearest  male  relative 
should,  except  in  certain  cases,  marry  her  or  else  provide  a  dowry. 
Demipho,  in  410,  shows  that  he  prefers  for  Antipho  the  latter  al- 
ternative. For  the  position  of  the  relative  clause,  cf.  27,  60  f., 
131  f.,  153  f.,  etc. 

127.  scribam  dicam  =  ypd\f/u  8lKi)v.     Dica  (8/*o?)  is  found  hi 
Plautus  and  Terence  only  in  the  nom.  and  ace.  sing,  and  ace.  plural, 
and  always  in  its  Latinized  form.     Cf.  329,  439 ;  Plaut.  Aul.  759  ; 
Poen.  800 ;  also  Cic.  in  Ver.  Act  II,  Lib.  II,  §  37.     For  the  ace. 
plural,  see  668. 

128.  adsimulabo :  simulo  would  be  the  regular  prose  word  in 
this  sense. 

129.  qui  fuerit  pater:  the  later  distinction  between  quis  and 
qui  does  not  seem  to  have  been  observed  in  early  Latin ;  cf.  354. 
Even  In  classical  times  it  was  sometimes  disregarded. 

130.  qui :  a  form  (especially  common  in  early  Latin)  of  the  abl. 
or  loc.,  used  of  any  gender  or  number.     It  may  be  used 

(1)  for  the  usual  ablative  quo  or  qua. 

(2)  as  an  interrogative  adverb,  as  here,  how?  why?    Cf.  330,  381, 
396,  398,  799,  855,  915. 

(3)  as  an  indefinite  particle,  somehow.    Cf.  Ad.  810. 

(4)  to  introduce  a  curse,  as  in  123. 


86  PHORMIO. 

With  this  last-mentioned  use,  cf.  ut  (litinatn)  which,  from  an  ad 
verb  of  manner,  came  to  introduce  a  wish. 

131.  quod:  so  far  as,  lit.  to  what  extent.  On  the  punctuation 
of  this  verse,  see  App. 

133.  quid  mea :  sc.  refert,  or  interest.  A.  &  G.  222,  a ;  B.  211, 
1,  a  ;  G.  381  ;  H.  408. 

135.    uentumst:  cf.  129. 

uincimur :  cf .  this  present  between  two  perfects  with  the  perfect 
uenimus  between  two  presents  in  103. 

137.  quid  te  futurumst:    te  is  a  colloquial  use  of  the  abl.  of 
means,  found  with  esse,  fieri,  and/acere.     A.  &  G.  244,  d  ;  B.  218, 
6  ;  G.  401  N.  1 ;  H.  415,  III,  n.  1. 

138.  Notice  the  alliteration  and  the  play  upon  words.    Cf .  108. 

140.  adeam  .  .  .  oret :  these  subjunctives  seem  best  explained 
by  supposing  Geta  to  be  quoting  the  fancied  command  of  some 
adviser :  /  am  to  go  to  an  advocate,  I  suppose,  who  is  to  plead  for 
me  as  follows. 

ad  precatorem  :  cf.  Heaut.  976,  1002  ;  Plaut.  Asin.  416  ;  Pseud. 
606. 

141.  mine,  i.e.  just  this  once. 

amitte :  here,  as  often  in  Plautus  and  Terence  in  its  original 
etymological  meaning.  Cf.  175,  414. 

143.  uel  occidito :  you  may  kill  him,  even ;  lit.  even  kill  him. 
Notice  how  easily  an  expression  of  command  passes  into  one  of 
mere  permission.     The  reverse  process  is  seen  in  our  use  of  may 
in  commands,  e.g.  you  may  quit  my  presence  instantly. 

144.  paedagogus :  in  humorous  allusion  to  Phaedria's  behavior 
—  he  goes  about  with  his  love,  as  if  he  were  her  paedagogus.     Cf. 
86. 

146.  Hiatus  is  here  excused  by  the  change  of  persons.  See 
Introd.,  p.  xliii. 

148.  quoad  expectatis :  lit.  up  to  what  time  are  you  expecting? 
an  expression  framed  with  reference  to  the  time  when  the  expecta- 
tion will  be  realized,  though  our  idiom  requires  quoad  to  be  trans- 
lated by  when.  Cf.  462,  quoad  se  recipiat,'  524,  dies,  ad  quam 
dares. 

non  certum  scio  :  I  have  no  certain  knowledge,  certum  modi- 
fying the  substantive  idea  involved  in  scio;  cf.  Eun.  Ill,  921. 


NOTES.  87 

When  scire  already  has  an  object  in  the  accusative,  certo  is  used 
instead  of  certum.     Cf.  And.  929  ;  Hec.  324. 

150.  portitores :  custom-house  officers,  who  collected  the  harbor 
dues.     See  Plaut.  Asin.  159;  Trin.  1106.    Even  the  letters  brought 
by  an  incoming  ship  passed  through  their  hands,  and  they  had 
the  right  to  open  those  which,  for  any  reason,  they  thought  sus- 
picious.    Cf .  Plaut.  Trin.  793  ff.    lam  si  opsignatas  non  feret,  did 
hoc  potest,  Apud  portitores  eas  resignatas  sibi  Inspectasque  esse 
(see  Brix3  on  this  passage);  cf.  Trin.  810. 

151.  num  quid  aliud  me  uis?  Can  I  be  of  further  service  ?  a 
common  formula  of  leave-taking,  often  found  without  the  me,  or 
the  uis.     Cf.  Eun.  191,  363,  etc.     The  use  of  two  accusatives  with 
uelle  is  after  the  analogy  of  verbs  of  asking  and  teaching ;  cf.  note 
on  947. 

ut  bene  sit  tibi  (sc.  uolo,  from  the  MI'S)  :  a  polite  negative  an- 
swer to  the  preceding  question. 
Dorcio :  Geta's  wife. 

ACT  II,   SCENE   1    [1,3]. 

152.  heus :  hello  there  1    Like  OVTOJ. 
hoc :  sometimes  used  for  hue. 

Dorcium  :  female  names  derived  from  Greek  diminutives  often 
have  neuter  forms,  as  in  the  original.  Cf.  Phanium,  Glyce- 
rium,  etc. 

153.  adeon  rem  redisse,  etc.:  for  the  real  force  of  the  inf., 
see  note  on  mirarier,  92.     Here  the  context  and  the  occasion  show 
that  the  idea  is  one  against  which  the  speaker  protests,  and  the 
inf.  is  accordingly  felt  as  exclamatory.     This  -n  (=  -nc)  is  com- 
monly explained  as  throwing  the  exclamation  into  an  interrogative 
form,  the  idea  of  things'1  having  come  to  such  a  pass  —  can  it  be? 
but  Warren  (Am.  Journ.  Phil.  Vol.  II.,  p.  75)  thinks  that  it  is 
an  asseverative  particle  meaning  indeed.    B.  334 ;  G.  454,  N.  2. 

154.  ut :  repeated  from  preceding  line.     This  repetition  occurs 
chiefly  when  the  verb  of  the  clause  is  at  a  considerable  distance 
from  the  introductory  word  ;  cf.  And.  830. 

aduenti  :  substantives  of  the  4th  decl.  have  for  the  most  part  in 
Terence  their  gen.  in  -i.  The  only  other  form  of  the  gen.  which 


88  PHORMIO. 

Terence  uses  for  such  words  is  that  in  -MIS,  e.g.  Heaut.  287,  anuis 
(for  anus). 

in  mentem  ueniat :  there  comes  into  my  mind  a  thought,  is 
equivalent  to  memincrim,  I  call  to  mind,  am  mindful  of,  and  takes 
the  genitive  for  the  same  reason.  Cf.  Piaut.  Hud.  685. 

165.  quod  ni :  quod  is  of  doubtful  origin,  but  it  seems  to  mean 
with  reference  to  all  of  which.  Cf .  quod  si,  but  if,  and  if. 

156.  quid  istuc  est :  see  App. 

157.  quod :  see  note  on  155. 

158.  quod  has  for  its  antecedent  the  pronoun  implied  in  the 
adverb  eo. 

159.  non  potitus  essem :  conclusion  of  a  condition  the  protasis 
of  which  would  be  if  he  had  not  done  so. 

fuisset  mi  aegre  :  it  would  have  been  hard  for  me. 

aliquod  and  quod  (for  aliquot  and  quot)  are  the  best  attested 
forms  for  Terence.  The  oldest  and  best  Ms.  invariably  has  this 
spelling.  Not  till  imperial  times  did  the  forms  aliquot  and  quot 
come  into  constant  use. 

160.  audio  :  a  common  expression  for  indicating  that  the  hearer 
is  becoming  impatient. 

161.  dum  expecto :   Antipho  continues  without  heeding  the 
interruption. 

consuetudinem :  originally,  a  being  accustomed,  familiarity, 
then,  as  here,  a  person  with  whom  one  is  familiar.  Cf.  the  Eng- 
lish word  love,  which,  though  originally  an  abstract  noun,  has  come 
to  designate  also  the  person  loved. 

162.  dolet :  impersonal  as  in  Eun.  430  ;  Ad.  272  ;  Plaut.  Men.  439. 
quia  superest:   one    of  the   few  examples   where    a   pyrrhic 

word  ('  -),  followed  by  two  short  syllables,  has  the  ictus  on  the 
ultima. 

164.  tua  quidem :  quidem  frequently  emphasizes  the  preceding 
word.  Quidem  hercle  certo  is  a  common  formula  in  the  sermo 
uolyaris  for  strengthening  an  assertion.  Cf .  And.  347 ;  Plaut.  Men. 
314.  Sometimes  the  order  of  words  is  reversed,  e.g.  523,  certe 
hercle  tibi  quidem.  Certo  seems  always  to  follow  hercle,  while 
certe  always  precedes.  Cf.  523 ;  Plaut.  Men.  313 ;  Stich.  480. 
Notice  also  pol  certo  in  Plaut.  Mil.  353 ;  Cas.  1,  55,  but  certe  edepol 
in  Plaut.  Amph.  271,  441;  Aul.  215;  Pseud.  511 ;  Merc.  444. 


NOTES.  89 

165.  ita  me  di  bene  ament  (often  without  bene ) :  so  help  me 
God!  the  ita  being  exactly  like  this  English  "so,"  and  not  correl- 
ative with  the  following  ut.    Cf.  883,  bene,  ita  me  di  ament,  factum  ; 
954,  monstri,  ita  me  di  ament,  simile.     The  w£-clause  here  depends 
upon  depecisci,  and  morte  (166)  should  be  taken  as  abl.  of  price, 
bargain,  at  the  price  of  my  death,  for  the  privilege  of  enjoying,  etc. 

166.  iam  :  on  the  spot.     See  note  on  219. 

168.  quod:  explicative,  the  fact  that. 

liberalem  :  this  word  designates  the  qualities  of  a  typical  liber, 
i.e.  culture,  generosity,  kindliness,  etc.  Cf.  623. 

169.  palam  :  notice  the  emphatic  position.     See  note  on  200. 

170.  ni  .  .  .  desit :    the  present  subjunctive  is  often  used  in 
the  early  writers  where  the  English  would  use  a  contrary-to-fact 
construction.     It  was  probably  felt,  however,  rather  as  a  "less 
vivid  future"  (or  "ideal")  condition  than  as  the  exact  equivalent 
of  the  imperfect. 

istaec :  iste  with  -ce  is  declined  like  hie,  except  that  the  neut. 
sing.,  nom.  and  ace.,  is  istuc.  See  App. 

171.  quo :  the  cum  before  eo  is  still  ringing  in  the  ears,  and 
answers  for  quo  as  well  as  for  eo  ;  cf.  476,  in  hac  re  ut  aliis ;  and 
for  Greek  parallels,  see  Kriiger,  Gr.  Spr.  §  51,  11,  A.  1.    Where  the 
verb  of  the  dependent  clause  is  not  the  same  as  that  of  the  principal 
clause,  the  preposition  is  repeated,  e.g.  Eun.  119. 

172.  plerique   oranes :    this  expression,  like  our   most  all  for 
almost  all,  belongs  to  the  sermo  uolgaris.     There  seems  to  be  no 
authority  for  Reisig's  supposition  that  there  is  an  ellipsis  of  uel 
before  omnes. 

nostri  nosmet :  when  there  are  two  or  more  oblique  cases  of 
personal  pronouns  in  a  clause,  the  ace.  commonly  precedes  the 
others.  But  exceptions  to  the  rule  are  not  uncommon.  —  The  sen- 
timent here  reminds  one  of  Hor.  Sat.  1,  1,  Qid  fit,  Maecenas,  ut 
nemo,  quam  sibi  sortem  sen  ratio  dederit,  seufors  obiecerit,  ilia  con- 
tentus  uiuat. 

173.  uidere  :  Plautus  and  Terence  regularly  have  -re  in  2d  pers. 
sing,  pass.,  instead  of  -ris.     If  the  pres.  indie,  be  excepted,  the  same 
may  be  said  of  Cicero  and  Vergil ;  see  note  on  61. 

174.  de  integro  :   Phaedria  was  still  free  to  do  as  he  pleased 
about  pressing  his  suit. 


90  PHOEMIO. 

176  f.    re  tin  ere  an  amorem  amittere :  see  App. 
amittere :  see  note  on  141. 

177.  uideon :  see  note  on  50. 

178.  ipsus  :  often  in  early  Latin  for  ipse. 

ACT  II,   SCENE  2   [I,  4]. 

179.  nullus  ea:  a  colloquial  use  of  nullus:  you  are  a  goner] 
Cf.  942  ;  Ad.  599. 

iam  :  without  delay.     See  note  on  219. 

celere  :  for  celeriter,  though  Donatus,  Charisius,  and  Priscian 
take  it  adjectively.  Cf.  Plaut.  Cure.  283,  Ita  nunc  subito  propere  et 
celere  obiectumst  mihi  negotium. 

179.  Geta :  the  quantity  of  the  final  a  is  frequently  doubtful. 
Cf.  Phaedria,  830,  etc.     The  a  of  the  nom.  sing,  of  the  1st  decl. 
was  originally  long,  and  reminiscences  of  this  original  length  seem 
to  be  found  in  Plautus  and  early  inscriptions.     Certain  examples, 
however,  are  very  rare.     Cf.  Heaut.  406,  Clinid. 

180.  inpendent  occasionally  governs  the  ace.,  though  it  com- 
monly takes  the  dat.,  or  in  with  the  ace.     For  the  ace.  alone,  see 
Lucil.  36  (Baehrens):    quae  res  me  inpendet;  and  for  similar  in- 
stances of  the  ace.  after  verbs  that  are  commonly  intransitive,  cf. 
Plaut.  Mil.  1047,  me  occusant;  Trin.  60,  me  obrepseris  ;  also  974 ; 
Men.  476,  scortum  accubui ;  Gas.  II,  4,  29,  eum  incumbam,  etc. ; 
Lucr.  I,  326,  inpendere,  etc. 

181.  inde :   a  change  to  the  demonstrative  idea,  where  the  clause 
has  begun  with  a  relative,  is  common. 

182.  Either  dtutius,  or  dmtius  (synizesis).     After  182  (or  181), 
the  Mss.  have  a  repetition  of  And.  208. 

185.  quod  refers  in  a  general  way  to  Antipho's  marriage,  which 
had  been  the  prominent  thought  of  182  and  184. — On  eius,  see 
note  on  113.     But  the  verse  might  be  read  as  an  iambic  octonarius 
which  would  give  eius  its  usual  quantity. 

186.  laterem  lauem :   cf.  the  proverb,  ir\ivdov  TrXiimy,  which 
may  have  stood  in  Terence's  Greek  original.     Cf.  Aristoph.  Vesp. 
280,  \lBov  ^eis. 

187.  animi :  locative  like  humi,  domi,  etc.     Cf.  Eun.  274,  falsus 
unimi ;   Hec.  121,  animi  incertus ;  Ad.  610;   discrucior  animi; 


NOTES.  91 

Plaut.  Mil.  1068,  quid  illam  miseram  animif  Verg.  G.  4,  491, 
uictus  animi,  etc. 

188.  absque :  used  in  Plautus  and  Terence  only  before  a  personal 
or  a  demonstrative  pronoun,  with  the  imperf.  subj.,  to  form  the 
protasis  of  a  conditional  sentence  ;  absque  eo  is  similar  to  the  Eng- 
lish expression  '  but  for  him '  (=  '  if  it  were  not  for  him  '),  except 
that  the  Latin  uses  a  verb  with  the  prepositional  phrase,  while  the 
English  does  not.     After  Terence,  there  is  no  certain  instance  of 
the  use  of  absque  before  Quintilian  (7,  2,  44)  and  then  not  again 
till  Gellius.    See  App. 

189.  uidissem  =  prouidissem,  should  have  looked  out  for. 

190.  conuasassem :  a  word  defined  by  Nonius  as  meaning  furto 
oinnia  colligere.    It  seems  to  be  an  a  7ra£  elpij^vov,  the  later  instances 
of  it  being  traceable  to  this  passage. 

protinam  :  an  early  Latin  equivalent  for  protinus. 

nam  was  introduced  into  the  text  by  Bentley,  on  the  ground 
that  the  rhythm  of  the  preceding  verse  always  flows  on,  without 
break,  into  the  clausula. 

193.  nescio  quod :  these  two  words  came  to  be  felt  merely  as 
forming  an  indefinite  pronoun.    All  consciousness  of  nescio  as  a 
verb  seems  to  have  been  lost;  even  in  Ciceronian  Latin,  the  expres- 
sion is  followed  by  the  indie.,  rather  than  by  the  subj.  of  indirect 
question.    In  this  use,  the  o  of  nescio  is  short ;  as  an  independent 
word,  nescio  forms  a  cretic  (nescio),  though  exceptions  to  this  rule 
may  be  found.    Cf .  Ad.  79.    See  App. 

194.  sanun  :  i.e.  sanusne.     See  on  111. 

195.  hem :  see  on  52. 

196.  quern  uolui  obuiam :  see  on  52. 

197.  cedo .  an  imperative  form,  out  with  it;  plural  cette  (from 
cedite) . 

198    intellexti:  see  Introd.,  p.  xlv. 

199.  See  App. 

200.  nam.  as  here  used,  must  be  carefully  distinguished  from 
nam  meaning  for.    It  is  used  to  emphasize  a  question,  and  denotes 
emotion  of  some  sort  in  the  questioner;  nam  quod  =  quod  nam, 
what  in  the  world? 

miser:  brought  into  prominence  by  its  position,  wretch  that  1 
am  I  Generally  speaking,  the  most  emphatic  points  in  a  Latin 


92  PHORMIO. 

sentence  or  verse  are  the  beginning  (except  for  the  subject,  when  this 
does  not  precede  an  introductory  particle)  and  the  end  (except  for 
the  verb).  Emphatic  ideas  tend  to  find  utterance  first,  but  special 
effects  are  often  produced  by  throwing  an  emphatic  word  or  phrase 
to  the  end,  for  the  mind  to  dwell  upon.  In  general,  it  may  be  said 
that  an  unusual  arrangement  of  words  (e.g.  reversed  order,  wide 
separation  of  words  belonging  together,  juxtaposition  of  those  con- 
trasted, etc.)  attracts  special  attention  to  such  as  are  out  of  their 
normal  position,  and  thus  makes  them  emphatic.  A  shifting  of 
words  in  the  middle  of  a  sentence  is  less  noticeable,  and  so 
produces  less  emphasis.  Freedom  of  position  is  limited,  for  pur- 
poses of  emphasis,  only  by  the  necessity  of  avoiding  obscurity,  or 
an  overburdening  of  the  mind.  For  the  normal  order  of  words 
in  a  Latin  sentence,  see  A.  &  G.  343;  B.  348-350;  G.  674; 
H.  560  f. 

201  f.  An  apostrophe  to  his  bride,  Phanium.  Cf.  Heaut.  398  ; 
Hec.  134  ;  325  f. ;  604  ;  Ad.  713. 

aba  te  seems,  in  the  later  years  of  Cicero,  to  have  been  sup- 
planted by  a  te.  See  note  on  378. 

204.  apud  me :  at  home,  as  regards  his  mental  condition ;  in 
possession  of  my  senses.  Colloquial. 

nunc  quom  maxurne  :  now  especially,  practically  equivalent  to 
nunc  quam  maximc.  Cf.  Ad.  518  ;  And.  823.  The  full  form  of 
this  expression  would  be  opus  est  nunc  ut  (apud  te)  sis  ut  quom 
maxime  (apud  te  es).  Cf.  Cic.  ad  Quint.  2,  6,  G. 

206.  commeruisse  culpam  :  see  note  on  54.  Commerere  is 
used  only  in  a  bad,  promerere  only  in  a  good,  sense,  while  merere 
is  used  in  both  senses.  Cf.  Donatus  on  Ad.  201. 

inmutarier :  middle  voice. 

208.    quom  possum :  see  note  on  9. 

nihil :  nonsense. 

ilicet  ( =  ire  licet.  Cf.  scilicet,  uidelicet,  =  scire  licet,  uidere 
licet)  was  a  word  used  in  dismissing  any  gathering.  Translate: 
let's  go. 

210.  uoltum  contemplamini :  masks  were  not  worn  by  Koman 
actors  till  after  the  time  of  Terence  ;  see  Introd.,  p.  xxxi.  Such 
expressions  as  this,  however,  are  found  even  in  Greek  comedy, 
though  the  Greek  actors  did  wear  masks. 


NOTES.  93 

em :  see  on  52. 

212.   uerbo  :    dat.,  not  abl. 

pari :  the  only  instance  in  Terence  of  the  dat.  of  a  neuter  adj. 
used  substantively.  The  preceding  uerbo  and  the  tendency  to  allit- 
eration facilitate  such  a  use  here.  The  substantive  use  of  adjectives 
is  rare  in  Terence,  and  does  not  occur  at  all  in  the  norn.  neut.  It  is 
chiefly  found  in  those  expressing  abstract  conceptions  (in  which 
case  even  the  gen.  is  found,  e.g.  637),  and  in  neuters  used  to  denote 
locative  relations  (e.g.  in  proxumo). 

scio :  Donatus  rightly  observes :  apparet  hoc  uerhum  eo  uultu 
dici,  ut  manifestum  sit  absenti  animo  esse  eum,  qui  loquitur.  See 
App. 

215.   sed  hie  quis :  see  App. 

217.  mane,  inquam  :  in  effect,  quid  agisf  quo  abis?  had  been 
equivalent  to  mane;  hence  inquam.  Cf.  Ad.  780  f.:  SY.  Quid  agis? 
quo  abis?  DE.  Mitte  me.  ST.  Noli,  inquam. 

219.  iam:  the  idea  of  already  applied  to  the  near  future,  i.e. 
directly,  soon. 

fefellerit:  the  present  tense  might  seem  more  natural,  as  in 
Heaut.  668:  nisi  fallit,  haud  multum  aberit;  but  the  conception 
is  rather,  if  I  shall  not  prove  to  have  been  wrong. 

223.  quin  impera :  quin  (qui  +  ne,  why  not?  ne  having  at  one 
time  been  used  in  the  sense  of  nori)  seems  to  have  been  used  first 
with  the  indie.,  e.g.  quin  fads?  why  don't  you  do?  But  such 
questions,  when  impatiently  asked,  are  often  felt  as  equivalent  to 
commands.  In  this  way  quin  came  to  be  associated  with  the  idea 
of  commanding,  and  its  use  with  the  imperative  arose. 

225.  defendendam :  here  in  its  original  sense  of  warding  off 
(de,  away  from  ;  fendo,  strike).    In  this  sense,  it  is  construed  with 
the  ace.  of  the  thing  warded  off  and  the  dat.,  or  ab  with  the  abl., 
of  the  person.    But  if  one  wards  off  something  from  a  person,  he 
defends  the  person  ;  and  from  this  feeling  arose  the  use  of  the  ace. 
of  the  person  defended. 

226.  iustani  .  .  .  optumam  :  indirect  discourse  after  the  idea  of 
speaking  involved  in  oratio. 

uincibilem :  here  used  in  an  active  sense  =  quae  facile  uincat 
(Donatus).  For  this  active  use  of  adjectives  in  -bills,  cf.  961,  pla- 
cabilius;  Heaut.  205,  tolerabilis.  Side  by  side  with  these  occur 


94  PHOBMIO. 

similarly  formed  adjectives  in  a  passive  sense :  239,  incredibile , 
690,  utibile  ;  And.  625,  credibile  and  memorabile  (all  in  the  neuter). 
In  Augustan  Latin  such  adjectives  are  nearly  always  passive,  but 
occasionally  active  as  in  Verg.  G.  1 ,  93,  boreae  penetrabile  frigus  ; 
Hor.  Od.  1,  3,  22,  dissociabilis ;  etc. 

227.  nunc  ipsast  opus  —  ea  aut,  etc. :  there  is  need  of  the  self- 
same now  —  of  that,  or  some  better,  etc.  Ipsa  ea  are  ordinarily 
taken  together  as  meaning  that  same,  but  Eein  has  shown  that  ipse 
in  Terence  is  placed  after  other  pronouns  in  such  combinations. 
He  accordingly  writes  ea  nunc  ipsast  opus,  but  the  interpretation 
suggested  above  avoids  all  difficulty. 

230.  Do  not  miss  the  effect  produced  by  the  military  terms. 
Succenturiati  dicuntur,  qui  explendae  centuriae  gratia  subiciunt  se 
ad  supplementum  ordinum  (Donatus).     For  other  military  terms, 
cf.  285,  320,  346-7. 

age  :  a  sign  of  assent,  drive  on,  go  ahead,  then  (as  here),  all 
right. 

ACT  II,   SCENE  3  [II,  1]. 

231.  For  the  force  of  the  position  of  words,  see  note  on  200. 

232.  imperium :  the  Roman  father  had  absolute  authority  over 
all  members  of  his  family. 

233.  reuereri  :  see  note  on  153,  and  cf.  339  f. 

234.  uix  tandem :   my  turn  at  last  I    Geta  had  expected  that 
Demipho  would  vent  his  anger  upon  him  first,  as  the  one  chiefly 
responsible  for  Antipho's  wrong-doing.    For  uix  tandem,  in*  this 
sense,  see  And.  470,  uix  tandem  sensi  stolidus. 

238.  illud  durum  :  that's  a  hard  one. 

expediam  :  clear  it  up  (lit.  disentangle),  durum  though  it  be. 

239  f.  Demipho's  anger  seems  to  be  giving  way  to  other  emo- 
tions. Phaedria  and  Geta  accordingly  take  heart. 

241.  quam  ob  rem  :  he  draws  a  general  lesson  from  his  present 
experience.  He  had  waited  till  misfortune  was  upon  him,  and  then 
found  it  had  deprived  him  of  his  power  to  plan. 

243.  peregre  may  be  used  in  answer  to  questions  (1)  whence 
(as  here),  (2)  where,  (3)  whither.  For  this  use,  from  abroad,  see 
Plaut.  Stich.  585  ;  True.  1,  2,  26.  Cf.  intus  exire,  Plaut.  Mil.  1169, 
1197,  and  elsewhere.  See  App. 


NOTES.  96 

245.  See  App. 

246.  deputare :  the  idea  of  oportet  (242)  seems  to  be  still  suf- 
ficiently prominent  to  govern  the  infinitive.    For  the  sentiment,  cf. 
Hor.  Od.  1,  9,  14. 

eueniat :  for  the  subj.,  see  notes  on  17  and  79. 

247.  ante  eo :  the  indicative  in  apparent  indirect  questions  is 
common  in  early  Latin  (see  note  on  358),  but  here  incredibile 
quantum  is  probably  felt  merely  as  an  adverbial  expression  mean- 
ing wonderfully.    For  a  similar  use  of  nescio  quod  (quis,  etc.)  with 
the  indie.,  see  note  on  193. 

248.  meditata :  deponent  verbs,  especially  their  perf.  participles 
often  have  a  passive  signification.    This  is  most  common  in  collo- 
quial language.    Cf.  Eun.  383  f.,  quae  nos  nostramque  adulescen- 
tiarn  habent  despicatam. 

redierit :  the  tense  is  chosen  with  reference,  not  to  the  time  of 
meditata  sunt,  but  to  the  future  idea  implied  in  the  incommoda 
that  will  come,  if,  etc. 

249.  in  pistrino :  a  kind  of  work  that  was  especially  dreaded 
by  the  slaves. 

255.  saluom  uenire :  saluom  uenisse  gaudeo  was  a   common 
form  of  greeting  to  one  returning  from  a  journey  ;  cf.  Heaut.  407 ; 
Hec.  353  ;  cf.  also   Eun.   976 ;  Phorm.  286.     Instead  of  gaudeo, 
Phorm.  610  has  uolup  est.    For  the  omission  of  the  subject  of  the 
inf.,  see  note  on  54.    Demipho  does  not  allow  Phaedria  to  finish 
his  greeting. 

credo :  impatiently  and  with  a  touch  of  irony,  / suppose  so!  I 
dare  say  ! 

hoc :  this  pronoun  always  refers  to  something  near,  either  in 
thought,  or  in  actual  location  ;  here  it  refers  to  the  question  just 
asked,  which  is  still  uppermost  in  the  speaker's  mind. 

256.  hie :  i.e.  in  town. 

ex  sententia :  to  your  liking. 

257.  quid  iatuc  eat:  see  App.  on  156. 

258.  bonas  .  .  .  nuptias:  notice  the  force  of  the  position  of 
words :  a  fine  marriage  is  this,  that  you  have  got  up,  etc.    See  note 
on  200. 

259.  id  suscenses :  see  end  of  note  on  263. 

260.  ipsum  commonly  denotes  contrast,  or  opposition  of  some 


9d  PHORMIO. 

sort ;  here  =  him,  himself,  as  contrasted  with  you,  his  advocate. 
The  use  of  ipsum,  instead  of  eum,  or  ilium,  conveys  a  complaint 
that  Antipho  appeared  only  by  proxy. 

261.  nunc  sua  culpa  ut:  that  he  may  know  it  is  entirely  his 
own  fault  that,  etc.     For  the  position  of  nunc  sua  culpa,  see  note 
on  200. 

262.  lenem  .  .  .  acerrumum :  the   contrast  is  heightened  by 
the  position  of  these  words.     See  note  on  200. 

263.  quod :  the  ablative  originally  ended  in  d.     Quod,  in  cases 
like  this,  may  be  a  reminiscence  of  this  early  form,  though  it,  is 
sometimes  explained  as  an  ace.    The  antecedent  of  quod  is  surely 
felt  as  the  cause  of  the  anger.     Cf.  361.    If  quod  is  an  abl.,  cases 
like  id  (259)  will  have  to  be  explained  as  due  to  analogy. 

265.  noris :  in  both  cases  fut.  perf.  hid.,  equivalent  to  fut.    If  the 
first  noris  were  the  perf.  subj.  of  an  indefinite  2d  pers.  (see  gram- 
mar references  in  note  on  280),  we  should  have  omnis  nouisti,  in- 
stead of  omnis  noris.     Noui,  perfect  in  form,  present  in  meaning, 
/  have  learned,  i.e.  I  know  ;  cf.  odi,  I  have  conceived  hatred  for, 
i.e.  I  hate;  memini,  I  have  kept  in  mind,  i.e.  I  remember,  etc. 

266.  hie,  as  nom.  sing,  of  the  pronoun,  is  regularly  short  in 
Plautus  and  Terence. 

269.  cum  aliquo  stares  =pro  aliquo  stares  (Donatus):  for  the 
more  common  ab  aliquo  (or  alicuius  parte)  stares.  Cf.  hinc  in 
Plaut.  Men.  799,  hinc  stas.  See  note  on  340,  ab  animo. 

271.  minus  :  too  little. 

rei  temperans :  a  participial  form  in  -ns,  when  used  as  an  ad- 
jective denoting  a  characteristic  rather  than  a  particular  act,  may 
take  the  genitive,  regardless  of  the  usual  government  of  the  verb 
from  which  it  comes.  Cf.  uxoris  amans  (Plaut.  As.  5,  2,  7). 

foret :  characterizing  clause,  prominently  involving,  as  char- 
acterizing clauses  often  do,  the  idea  of  result  —  a  fault  of  such  a 
character  that  the  result  was,  etc. 

rei  aut  famae  :  cf.  120,  indotatam  uirginem  atque  ignobilem,  in 
which  indotatam  explains  the  rei  and  ignobilem  the  famae. 

272.  quin :   following  the  idea  of  preventing,  implied  in  non 
causam  dico.     Cf.  And.  600,  quid  causae  est,  quin  .  .  .  proficiscar. 

274.  nostrae  implies  that  Phaedria  makes  common  cause  with 
his  cousin. 


NOTES.  97 

276.  Judicial  decisions  were,  without  doubt,  among  the  Athe- 
nians, sometimes  influenced  by  such  circumstances  as  are  here 
indicated.  The  Roman  sense  of  justice  made  this  far  less  likely  to 
happen  at  Rome. 

278.  nossem :  the  pluperfect  of  this  word  has  the  force  of  an 
imperfect,  as  the  perfect  (nowi)  has  the  force  of  a  present.  See 
note  on  265. 

280.  tuaiusta:  your  just  rights. 

respondeas :  a  general  condition  addressed  to  an  indefinite  2d 
person  takes  the  subjunctive,  where  the  1st  and  3d  persons  require 
the  indicative.  This  w&z-clause  differs  from  a  sz-clause  only  in  giv- 
ing greater  prominence  to  the  temporal  element  involved  in  the 
condition.  A.  &  G.  309,  a,  and  316  ;  B.  302,  2  and  312,  2  ;  G.  695, 
R.  3,  593,  1  and  590  R.  3  ;  H.  518,  2. 

281.  functus  .  .  .  ofticium  :  fungor,  in  early  Latin,  regularly 
takes  the  ace.     The  same  is  true  of  abutor.      Utor,  fruor,  and 
potior  take  sometimes  the  ace.,  sometimes  the  abl. 

283.  cogitata :  not  his  thoughts  (which  would  be  quae  cogitabat) , 
but  what  he  had  planned  to  say,  the  defense  he  had  prepared,  lit., 
the  things  (that  had  been}  thought. 

284.  obstupefecit :  those  compounds  of  facere,  which  have  for 
their  first  part  a  verbal  stem  of  the  2d  conjugation,  shorten  the 
final  e  of  that  stem,  if  the  preceding  syllable  is  short  (following 
the  analogy  of  iambic  words);  patefacio,  commonefacio. 

287.  columen :  cf.  the  -English  expression,  "pillar  of  the 
church,"  and  Hor.  Od.  2,  17,  4,  grande  decus  columenque  rerum. 

292.  seruom    hominem :     the  English  expression    "servant- 
girl"  is  similar  in  make-up;  cf.  "man-servant."     Also  And.  755, 
mulier  meretrix;  Plaut.  Mil.  563;  Epid.  1,  1,  58;  Sail.  Jug.  12, 
mulieris  ancillae. 

Slaves  at  Athens  could  not  testify  in  court  in  support  of  their 
mastei's,  nor  was  their  evidence  taken  at  all  except  in  murder 
trials  and  then  only  under  torture,  as  it  was  supposed  that  they 
could  not  otherwise  be  trusted  to  tell  the  truth.  At  Rome,  slaves 
could  give  evidence  against  their  masters  only  in  cases  of  incest. 
Cf.  Cic.  pro  Mil.  22,  59,  de  seruis  nulla  quaestio  est  in  dominum 
nisi  de  incestu,  ut  fait  in  Clodium. 

293.  testimoni  dictio  est :  the  verbal  feeling  in  substantives 


98  PHORMIO. 

in  -to  is  still  so  prominent  in  Plautus  that  they  sometimes  take  the 
same  case  after  them  as  the  verbs  from  which  they  come,  e.g. 
True.  622  f.,  quid  tibi  hanc  aditiost?  quid  tibi  hanc  notiost,  in- 
q warn,  amicam  meam?  Cure.  626.  In  Terence,  however,  the 
purely  substantive  feeling  in  these  words  is  clearly  uppermost,  and 
they  are  accordingly  construed  with  the  genitive. 

295.   seruo's  (seruos  es) :  see  Introd.,  p.  xlvi. 

296  f.  quod  lex  iubet :  see  on  125  f. 

297.  dotem  daretis,  quaereret,  etc.  :  subjunctive  in  a  state- 
ment of   past  obligation  or  propriety,   practically  equivalent  to 
oportebat  with  the  infinitive.    Cf.  299,  sumeret;  468,  consuleres. 
For  a  discussion  of  such  uses  of  the  subjunctive,  see  the  American 
Journal  of  Philology,  Vol.  XV.  (Latin  Prohibitive,  Part  II.). 

298.  qua  ratione :  for  ichat  reason? 

iriopem :  Terence  commonly  uses  the  rnasc.  and  fern,  of  adjec- 
tives as  substantives  only  when  they  are  used  in  a  general  sense, 
without  referring  to  particular  persons  ;  cf.  938,  940. 

299.  non  ratio  :  it  wasn't  reason  that  was  lacking.    Notice  the 
double  meaning:  (1)  account,  cause;  (2)  understanding,  prudence. 

sumeret:  see  on  daretis,  297. 

300.  alicunde  :  from  the  stein  of  aliquis,  and  unde. 

301.  hui :  sometimes  hah  I  sometimes  whew  !  or  a  whistle,  as  in 
658  and  791. 

302.  dixisti:  Terence  commonly  uses  the  shorter  form,  dixti. 
See  Introd.,  p.  xlv. 

siquidem  quisquam  crederet :  a  Roman  law  known  as  the  lex 
quina  uicenaria  (the  five-and-twenty  law)  invalidated  any  con- 
tract made  with  a  man  under  twenty-five  years  of  age.  Such  a 
man  was  represented  by  his  father  or  guardian.  Perhaps  Terence 
here  has  this  law  in  mind,  though  purely  Roman  allusions  are  very 
rare  in  Terence. 

303.  potest :   probably  without  any  infinitive  understood  ;   cf. 
And.  327  ;  Heaut.  677  ;  Ad.  568  ;  and  such  phrases  as  quantum 
potest  (674),  si  quid  potest  (227),  etc. 

304.  egon  .  .  .  ut  patiar :  ut  with  the  subjunctive  is  used  in 
questions  to  repudiate  something  which  seems  to  be  merely  implied 
as  the  logical  result  (hence  ut)  of  what  precedes.     Cf.  669.     When 
the  demand,  or  statement,  has  been  clearly  expressed,  the  sub- 


NOTES.  99 

junctive,  but  without  ut,  is  used  in  a  question  implying  refusal  to 
comply,  or,  in  the  case  of  a  statement,  to  believe. 

Notice  the  indignation  implied  in  this  line  by  the  use  and  the 
relative  position  of  the  pronouns  (ego  ill  am  cum  illo),  all 
brought  in  before  the  ut.  See  note  on  200. 

305.  nil  suaue  meritumst :  Bond  and  Walpole,  and  Sloman 
take  meritumst  as  the  perfect  tense,  but  this  form  in  a  passive 
sense  is  extremely  rare  at  all  times,  and  to  Plautus  and  Terence  it 
is  entirely  unknown.  Meritum  (sc.  eorwm)  here  is  best  taken  sub- 
stantively  as  in  1051,  pol  meritumst  tuom;  Heaut.  92,  sic  meritumst 
meum. 

conmonstrarier :  to  be  shown;  demonstrarier  (306),  to  be 
pointed  out.  For  -ier  see  Introd.,  p.  xlv. 

307.  nempe  :  you  mean :  for  the  quantity,  see  Introd.,  p.  xli. 

308.  faxo :  parenthetical.     This  is  archaic  for  fecero,  -so  (-sis, 
-sit,  etc.)  being  added  to  the  verb-stem  (/ac-so).    In  the  first  and 
second  conjugations,  -sso  (-ssis,  -ss#,etc.)  is  found.     These  archaic 
endings  are  found  in  the  4th  conj.  only  in  ambissit  and  ambissint. 
Cf.  the  corresponding  subjunctive  in  -sim  (-sis,  -sit).     With  the 
exception  of  faxo,  faxim,  and  ausim,  Terence  uses  these  forms 
very  sparingly,    e.g.   742,  appellassis;  And.   760,    excessis.     See 
Introd.,  p.  xlv.     The  tense  of  faxo  here  adds  to  the  notion  of 
certainty  and  promptness  of  accomplishment.     Such  a  use  of  the 
fut.  perf.  is  very  common  in  early  Latin.    This  tense  is  appropriate 
in  such  cases,  only  because  the  progress  of  the  act  is  disregarded, 
and  the  act  is  conceived  of  as  already  accomplished  as  soon  as 
begun.    A  similar  feeling  prompts  expressions  like  "  I  must  be 
off,"  instead  of  "I  must  go." 

309.  adduce :   in  early  Latin,  duce,  dice,  and  face  are  some- 
times found  for  due,  die,  fac;  in  Terence,  however,  dice  does  not 
occur  at  all  and  duce  is  found  only  in  compounds.    Face  is  con- 
fined to  the  end  of  a  verse. 

811.  The  first  duty  of  a  Roman,  upon  returning  home,  was  to 
pay  his  respects  to  his  household  gods.  Cf.  Plaut.  Stich.  634. 

312.  aliquod :  commonly  written  aliquot.    See  note  on  169. 

313.  adaient :  see  Introd.,  p.  xxxix,  note  2. 


100  PHOKMIO. 


ACT  III,    SCENE   1   [II,  2]. 

315.  ais:  with  a  long  final  syllable.  Cf.  Plaut.  Capt.  1016. 
There  is  no  other  certain  example  of  this  quantity  in  Terence, 
but  see  1040 ;  Heaut.  883 ;  Hec.  346. 

abiisse :  in  the  inf.,  in  the  2d  pers.  (sing,  and  plur.)  perf.,  and 
in  the  plupf.  subj.  of  the  simple  verb  ire,  Terence  used  only  one  i. 
In  the  compounds  of  this  verb,  he  probably  used  only  the  forms 
with  double  i,  although  the  Mss.  always  have  only  one  i. 

admodum :  originally  much  like  our  to  an  extent,  to  a  degree, 
then,  to  the  full  extent,  fully,  or,  to  a  high  degree,  i.e.  very.  Here 
translate,  quite  so.  Cf .  note  on  adeo,  389. 

317.  oppido:    colloquial. 

318.  tute  :  you're  the  man  who,  etc. 

exedendum :  ex  is  intensive,  like  "up"  in  "eat  up,"  etc. 
intristi :  intriuisti. 

accingere :  passive  form  with  a  middle  signification,  as  often 
in  the  comic  poets. 

319.  si  rogabit :  Phormio  here  pauses  in  silent  thought.     The 
whole  sentence,  if  expressed,  would  mean  if  he  asks  such  and  such 
a  question,  what  will  be  my  best  course?    He  is  too  much  absorbed 
to  notice  Geta's  interruption,  and  in  the  next  line  continues :  but 
see  here,  now  (eccere)  !    What  if  he  retorts  so  and  so  (reddet,  sc.  re- 
sponsum)?    I've  thought  out  just  the  scheme,  I  think  (sic,  opinor). 
Now,  then,  bring  the  old  fellow  out! 

eccere :  only  here  in  Terence,  though  used  six  times  in  Plautus. 
321.    cedo :  see  note  on  197.     Notice  the  coloring  produced  by 
the  military  expressions.     Cf.  Plaut.  Pseud.  572. 

323.  deriuem :   (de  +  riuos)  :  turn  aside,  a  figure  from  turning 
the  current  of  a  stream. 

324.  amicu'a:  cf.  And.  702,  forties  (forfortis  es).     See  Introd., 
p.  xlvi.     If  amicus  be  written,    one  must  supply  es,  as  in  Ad. 
528,  tanto  nequior ;  there  is  no  certain  instance  of  the  nominative 
for  the  vocative  after  0. 

325.  erumpat :  land. 

326.  periclum:   the  root  idea  of  this  word  is  that  of  going 
through;  cf.  the  related  words,  irepdu,  pierce,'    7r6/>os,  porta,  a 


NOTES.  101 

way  through;  experior,  go  through,  test;  peritus,  one  who  has 
gone  through,  i.e..  experienced,  skilled,'  periclum,  something  gone 
through,  i.e.  trial  (as  here),  then,  becoming  specialized  in  mean- 
ing, danger. 

326.  pedum  .  .  .  via:  an  expression  suggested  by  in  neruom 
(325). 

327.  quod:  i.e.  quot.     See  note  on  159. 

328.  SeeApp. 

329.  dum :  used  enclitically,  as  often  in  the  comic  poets  with 
imperatives.     In  later  Latin  this  use  of  dum  is  found  with  the 
imperative  only  in  agedum,  agitedum.    It  is  the  same  word  as 
the  dum  which  means  while,  etc.,  and  was  probably,  in  its  origin, 
an  ace.  expressing  duration  of  time,  a  moment.    With  imperatives, 
it  came  to  be  used  merely  to  emphasize  the  command. 

enumquam :  sometimes  written  en  umquam.  En  serves  to  call 
special  attention  to  the  coming  question,  as  one  to  which  the  answer 
no  is  expected.  It  commonly  manifests  emotion  on  the  part  of 
the  speaker. 

330.  qui :  see  note  on  130. 

tenditur  is  the  reading  of  the  Mss.,  though  most  editors  write 
tennitur,  after  Donatus. 

332.  enim :  indeed,  as  often,  especially  in  early  Latin.  See  note 
on  113. 

in  illis  ...  in  illis :  colloquial  and  rare  for  in  his  .  .  .  in  illis. 
A.  &  G.  102  a  ;  B.  246,  1 ;  G.  307,  R.  ;  H.  450,  1  and  2. 

luditur :  is  frittered  away.  Cf .  Plaut.  Capt.  344  ;  Cas.  424 ; 
Pseud.  357. 

334.  Notice  the  alliteration,  which  Terence  employs  effectively, 
though  less  often  than  Plautus.  See  note  on  1.  If  a  person  did 
not  pay  damages  that  had  been  legally  awarded  to  his  creditor,  the 
creditor  was  permitted  to  arrest  him  and  make  him  his  slave.  The 
latter  was  then  styled  addictus. 

337.  potest:   the  unanimous  reading  of  the  Mss.  is  probably 
correct,  though  Dziatzko  prefers  pote,  after  Bentley.     The  omission 
of  est  with  potis  or  pote,  which  Dziatzko  assumes,  is  sufficiently 
characteristic  of  Plautus,  but  it  is  very  rare  in  Terence. 

338.  immo  is  always  corrective.     It  sometimes  objects  to  some- 
thing as  altogether  wrong,  when  it  may  be  translated  not  at  all. 


102  PHORMIO. 

on  the  contrary ;  sometimes,  while  admitting  that  an  assertion  is 
true,  objects  to  it  as  not  being  strong  enough,  and  adds  something 
to  make  it  more  forcible,  when  it  may  mean  yes,  but  one  would 
rather  say,  or  the  like.  This  explains  the  apparently  contradictory 
definitions  of  the  dictionaries  :  no,  indeed ;  yes,  indeed.  Both  defi- 
nitions represent  the  same  idea  differently  applied. 
regi :  patron :  often  used  of  any  wealthy  man. 

339.  tene:  see  note  on  153  (end). 

asumbolum  (0-u/x/3oX^,  quota),  scot  free  (without  sharing  the 
expense),  alluding  to  the  Greek  custom  of  having  feasts  at  which 
each  guest  bore  his  share  of  the  expense. 

unc turn  atque  lautum  e  balineis:  alluding  to  the  custom  of 
anointing  and  bathing  one's  person  each  day  before  dinner.  — 
Notice  that  the  exclamatory  infinitive  is  here  and  in  884  appar- 
ently used  of  something  agreeable  to  the  speaker.  It  commonly 
expresses  indignation,  or  the  like. 

balineis :  the  regular  form  in  Plautus.  Later,  balneum  became 
more  common  ;  and  Plautus  himself  has  balneator. 

340.  ab  animo :  ab  is  often  used  where  the  English  idiom  re- 
quires in,  or  on.     Cf.  ab  Romanis,  on  the  side  of  the  Romans  ;  a 
tergo,  in  the  rear,  etc.    The  Latin  phrase  is  used  with  reference  to 
the  point  of  view  from  which  an  act  emanates  or  a  state  is  pre- 
sented, the  English,  in  a  more  subjective  sense  with  reference  to 
the  speaker's  own  point  of  view. 

340.  quom  .  .  .  absumitur:  an  adversative  clause,  where  the 
subj.  would  be  required  in  classical  times. 

341.  ringitur:  undergoes  vexations.    "Ringi  est  stomachari  taci- 
turn; est  enim  translatio  a  canibus  latraturis,"  says  Donatus. 

placeat :  in  a  characterizing  clause,  the  characteristic,  however, 
being  one  that  is  aimed  at,  or  willed.  Such  clauses  may  be  termed 
"volitive  characterizing  clauses." 

rideas,  bibas,  etc.:  subj.  of  permission,  involving  the  yielding 
of  somebody's  will ;  to  be  carefully  distinguished  from  the  poten- 
tial. 

342.  dubia :  doubtful ;  ubi  tu  dubites  (343)  :  where  you  are  in 
doubt,  etc.,  implying  great  variety ;  but  the  choice  of  words  is  made 
chiefly  for  the  sake  of  the  pun.     Cf.  Hor.  Sat.  II,  2,  77,  and  Auson. 
Mos.  102. 


NOTES.  103 

344,  ratlonem  ineas:  forming  a  single  verbal  conception,  con- 
sider, lit.,  go  into  a  reckoning.    The  quom  really  introduces  a 
condition  (see  note  on  280,  ubi  respondeas),  and  the  subj,  is  used 
only  because  it  is  addressed  to  an  indefinite  person.     On  the  posi- 
tion of  words  in  this  verse,  see  note  on  200  and  cf.  that  on  261. 

345.  non  habeas :  in  a  purely  rhetorical  question  of  obligation 
or  propriety,  should  you  not  (ought  you  not  to)  regard  =  surely, 
you  ought  to  regard.    See  note  on  297.    Such  questions  must  be 
carefully  distinguished  from  questions  of  deliberation,  which  are 
in  their  very  nature  still  unsettled,  and  ask  for  directions.     Delib- 
eration involves  the  will,  and  expressions  of  the  will  take  ne  as  their 
negative.     See,  however,  note  on  827.     In  expressions  of  obliga- 
tion, the  negative  is  always  non.    See  App. 

347.  postilla  :  cf.  note  on  800. 

iam  denotes  relative,  nunc,  absolute,  time ;  iam  contrasts  any 
time,  whether  in  the  past,  the  present,  or  the  future,  with  a  pre- 
ceding time. 

ludas  licet :  the  only  passage  in  Terence  where  licet  takes  the 
subj.  instead  of  the  inf. 

ACT  IH,   SCENE  2   [II,  3]. 

348.  enumquam :  cf .  329  and  note. 

350.  quin  age  :  see  note  on  223. 

hoc  age,  etc.;  not  to  be  translated  literally.  The  phrase  was 
originally  used  by  the  priest  in  charge  of  a  sacrifice  as  an  order  to 
the  proper  official  to  dispatch  the  victim.  It  was  accordingly  the 
signal  for  all  to  observe  a  sacred  silence.  From  this,  it  came  to  be 
used  merely  to  invoke  attention.  Translate  just  watch  me  now,  Pll 
stir  him  up  directly.  Cf .  435,  see  here,  now  !  Eun.  130,  pray  listen  ! 

351.  deum  inmortalium  depends  upon  fidem  understood  (cf. 
And.  237,  246 ;  Heaut.  61;  Eun.  943  ;  Hec.  198 ;  Ad.  746),  the  ace. 
being  one  of  exclamation.     Pro  is  also  used  with  the  vocative,  e.g. 
1008. 

352.  See  note  on  200  (miser),  and  notice  how,  in  expressing  his 
pretended  surprise,  Phormio   takes  advantage  of  the    principles 
there  laid  down,  negat  and  Demipho  (352)  standing  first  and  last 
respectively .   Demipho  (of  all  men  in  the  world) ,  does  he  have  the 


104  PHOBMIO. 

face  actually  to  deny,  etc.  ?  In  the  next  verse,  the  emphasis  is  no 
Conger  on  Demipho  and  negat,  but  on  hanc  and  cognatam. 

354.   qul  for  the  more  common  quis;  see  note  on  129. 

356.  This  verse  cannot  be  reconciled  with  386-9,  and  must  be 
explained  as  a  gloss,  added  by  some  scribe  to  explain  354,  and  later 
incorporated  into  the  text. 

358.  quid  facit :  in  early  Latin,  such  apparently  indirect  ques- 
tions often  take  the  indicative.    The  reason  for  this  may  be  that 
they  are  not  as  yet  far  removed  from  parataxis.     Three  stages 
may  be  assumed  in  such  cases  :  (1)    Vide  !    Auaritia  quid  facit  1 
(2)  Vide  auaritia  quid  facit !    (3)  Vide  auaritia  quid  faciat ! 

359.  malitiae  :  A.  &  G.  220  ;  B.  208,  1  ;  G.  378  ;  H.  409,  II. 
male  audies :  cf.  20. 

360.  ultro  starts  with  the  idea  of  beyond.    According  to  the 
application  of  this  idea,  it  comes  to  mean  gratuitously,  voluntarily, 
actually  (as  here),  i.e.  beyond  what  one  would  expect. 

aduenit :  the  metre  shows  that  this  is  present  rather  than  per- 
fect ;  see  Introd. ,  p.  xxxiv. 

361.  quod :  see  note^on  263. 

363.  pauper :  in  humble  circumstances,  not  poverty-stricken, 
which  would  be  egens. 

quoi :  for  the  use  of  this  form  instead  of  cui,  see  note  on  60. 

opere :  the  sing,  of  opus  is  often  used  for  work  in  the  fields. 
Cf.  Heaut.  72,  73,  142 ;  Eun.  220 ;  Ad.  518. 

365.   interea  :  during  those  days. 

367.  quern  .  .  .  uiderim  :  a  classifying  clause,  restricting  optu- 
mum.     Such  clauses  represent  a  development  of  the  characterizing 
clause.    See  App.     A.  &  G.  320  d ;  B.  283,  5  ;  G.  627  R.  1. 

368.  videas  te  atque  ilium  narras  :  jnst  look  at  yourself,  as 
you  represent  Mm,  i.e.   in  the  light  of  his  virtues  (ivhat  a  con- 
trast!).   See  App. 

malam  crucem:  an  expression  common  in  Plautus,  but  only  here 
in  Terence.  A  senarius  is  not  commonly  allowed  to  end  with  two 
iambic  words.  This  apparent  exception  is  to  be  accounted  for  by 
the  fact  that  mala  crux  was  a  stereotyped  expression,  felt  as  a  single 
word,  which  in  turn  could  be  modified  by  maxuma,  magna,  etc. 
Cf.  Plaut.  Trin.  598.  The  crux  was  originally  a  pole  upon  which 
offenders  were  impaled ;  later,  a  cross  to  which  they  were  bound 


NOTES.  105 

or  nailed.    Hence,  t  in  malam  crucem  corresponded  to  the  English 
go  and  be  hanged! 

370.  hanc  :  i.e.  Phanium. 

in  uostram  familiam :  in  does  not  here  mean  against,  or  toward, 
but  with  reference  to,  the  reference  being  to  a  reciprocal  relation 
rather  than  to  the  inimicitia  of  Phormio  against  the  familia. 

Why  uostram  instead  of  tuam? 

Notice  the  proceleusmaticus  ob  hanc  ini\miciti\as,  etc.  See 
Introd.,  p.  xxxiv,  and,  for  the  shortening  of  hanc,  p.  xli. 

371.  quam  :  i.e.  Phanium.     For  this  separation  of  quam  from 
hanc,  cf.  535.     Such  separation  produces  a  surprise,  arrests  the 
attention,  and  thus  adds  to  the  impressiveness  of  the  utterance. 

372.  pergin  :  pergisne.     On  the  disappearance  of  the  s  in  such 
cases,  see  note  on  111. 

male  loqui :  felt  as  a  single  verbal  conception,  and  so  governing 
the  dat.  A.  &  G.  227  ;  B.  187,  II ;  G.  346  ;  H.  385. 

373.  dignum  hoc  illost :  one  might  have  expected  dignus  hoc 
illest. 

illo  :  the  more  remote  demonstrative  (instead  of  eo),  holding  as 
it  were  the  person  or  thing  at  a  distance,  hence  often  implying 
contempt.  Here,  such  a  man  as  that. 

career :  implying  that  Demipho  represents  all  the  evil  qualities 
that  a  prison  stands  for. 

374.  bonorum  extortor,  legum  contortor  :  as  no  words  ex- 
isted which  Geta  thought  sufficiently  suited  to  the  occasion,  he 
apparently  manufactures  some  (extortor,  contortor). 

377.  ho  die  seems  to  be  often  used  in  early  Latin  almost  as  a 
mere  formality,  without  any  more  distinctive  meaning  than  our 
"now"  has  in  certain  colloquial  expressions,  e.g.,  "He  did  not 
say  so  at  all,  now,"  e.g.  626 ;  Hec.  788,  873 ;  Plaut.  Pers.  218. 

378.  adulescens :  this  word,  when  used  as  here  in  direct  ad- 
dress, often  implies  condescension  and  a  certain  amount  of  con- 
tempt ;  cf.  the  similar  use  of  "young  man." 

aba  :  a  form  confined  (except  in  compounds)  almost  exclu- 
sively to  its  combination  with  te.  Even  in  this  combination,  it 
was  almost  entirely  supplanted,  in  the  last  years  of  the  Ciceronian 
period,  by  a.  Later,  when  used  at  all,  it  was  in  affectation  of 
archaic  style. 


106  PHOKMIO. 

379.  potls  and  pote,  with  esse,  are  both  used  in  early  Latin 
indifferently  with  any  gender  or  number ;  potis  is  here  neut. ;  on 
the  other  hand,  pote  may  be  used  as  masc.  or  fern.     For  the  drop- 
ping away  of  the  s,  cf.  such  forms  as  Cornelia  for  Cornelias,  C.I.L. 
I,  30.    In  sat  (for  satis),  the  i  also  disappeared,  but  in  pote  it  has 
merely  weakened  to  e.     Final  s  was  often  slighted  even  in  the 
early  years  of  Cicero,  as  his  poetry  clearly  shows.    Later  he  calls 
such  a  pronunciation  subrusticum  (Or.  48,  161). 

380.  istuni  gives  to  tuom  a  contemptuous  turn. 

381.  qui :  see  note  on  130. 

diceret :  following  the  present  tense,  explana.  The  law  of  the 
sequence  of  tenses  allows  some  exceptions.  See  App.  A.  &  G. 
287,  h;  B.  268,  7  ;  G.  509,  note. 

382.  expiscare :  of  attempted  action,  you  are  trying  to  fish  it 
out  of  me. 

quasi  nosses :  as  the  perfect  noui  is  equivalent  to  a  present, 
the  pluperfect  is  equivalent  to  an  imperf.  For  the  usual  con- 
struction with  quasi  see  A.  &  G.  312,  Kem.  ;  B.  307,  2 ;  G.  602  ; 
H.  513,  2. 

nossem :  the  tense  is  to  be  explained  as  a  repetition  of  Phormio's 
nosses,  with  the  necessary  change  of  person.  Cf .  note  on  122. 

ita:  that1 s  what  I  said. 

384.  eho:  what! 

non  noraa :  non  (not  here  equivalent  to  nonne)  is  frequently 
used  in  questions  implying  surprise  that  a  thing  is  not  so.  That 
the  answer  yes  is  not  expected  here,  is  shown  by  the  fact  that 
Demipho  had  just  said  he  did  not  know.  Phormio  replies,  you  did 
not  know?  {strange  indeed /) 

385.  maxume  :  certainly. 

387.  subice  :  prompt,  lit.  toss  it  up  to  (up  under)  me. 

388.  dico :  where  one  might  expect  the  future.    Cf.  our  collo- 
quial idiom,  "you  don't  get  a  cent  from  me,"  for  "you  will  not," 
etc.,  "I  go  (am  going)  to-morrow,"  etc. 

nosses :  see  note  on  382. 
temptatum :  pump. 

389.  tempto :  the  subjunctive  would  be  more  common  in  thus 
repeating  Phormio's  word.     See  note  on  122. 

autem :  often  thus  used  in  repeating  an  expression  which  has 


NOTES.  107 

given  offense,  to  indicate  the  speaker's  disapproval  of,  or  opposition 
to,  the  sentiment ;  see  note  on  503. 

adeo :  (ad  -f-  eo)  follows  rather  closely  the  meanings  of  its  con- 
stituent parts :  to  that  (such  a)  point  (of  space,  time,  or  degree)  ; 
to  that  point  and  no  further,  just,  precisely;  to  that  (end),  with  a 
view  to  that ;  in  addition  to  that,  i.e.  moreover,  besides.  In  this 
last  sense,  the  thing  added  is  sometimes  (especially  in  the  phrase, 
atque  adeo)  opposed  to  the  preceding  context,  as  here,  when  it 
may  be  translated,  still.  Cf.  And.  532,  977. 

mea :  sc.  refert,  or  interest.     Cf .  940 ;  Heaut.  793. 

390.   noueras :  see  note  on  13. 

392.  non :  see  note  on  384. 

horum :  masc.,  referring  to  the  bystanders.  With  the  neut. 
of  pronouns,  pudet  takes  the  personal  construction,  e.g.  Ad.  754, 
non  te  haec  pude.nt;  Plant.  Mil.  626;  Ep.  112,  etc.  For  the 
genitive  with  pudet  in  the  sense  of  before,  in  the  presence  of, 
see  Plaut.  Trin.  912,  deum  me  hercle  atque  hominum  pudet  ; 
Accius  in  Cic.  de  div.  1,  31,  66;  Ter.  Ad.  683,  me  tut  pudet; 
Liv.  3,  19,  7. 

393.  talentum :   not  a  contraction  of  talentorum,  but  a  remi- 
niscence of  the  earlier  form  (-om,  -urn")  of  the  gen.  plur.  of  the 
2d  declension.    Terence,  in  the  body  of  a  play,  uses  this  early 
form  only  in  liberum,   deum  or  diuom,  nummum  ;   but  in  his 
prologues  the  early  and  shorter  form  is  regularly  used,  and  it  is 
common  also  in  later  poets.    The  longer  form   in  -orum  came 
in  later,  after  the  analogy  of  the  pronouns  and  of  the  -arum  of 
a-stems. 

rem :  a  matter. 

394.  malefaciant,  since  a  proceleusmatic  cannot  follow  a  dactyl, 
should  be  read  with  syncope  of  the  e. 

esses  .  .  .  proferens :  approaching  proferres  in  sense,  and  in- 
teresting as  showing  an  analytic  tendency  even  in  Latin.  Cf .  And. 
508  and  775,  ut  sis  sciens;  Cic.  Verr.  1,  140,  distributum  habere 
'approaching  distribuisse  in  meaning) ;  perhaps  also  Cic.  Att.  6, 12, 
10.  ea,  quae  habes  instituta,  perpolies. 

396.  quorn  aduenissem  :  differing  from  si  aduenissem  only  in 
calling  attention  more  particularly  to  the  temporal  element  neces- 
sarily involved,  i.e.  to  the  occasion  characterized  by  the  assumed 


108  PHORMIO. 

act  as  well  as  to  the  act  itself.    For  quom  (cum)  introducing  con- 
ditions, see  notes  on  280  and  344. 

397.  face :  see  note  on  309. 

398.  eu :  this  word  and  euge  are  transferred  from  the  Greek  e8 
and  eftye ;  they  occur  frequently  in  comic  poets,  e.g.  478,  869. 

399.  quibus  :  sc.  expedire.    The  omission  of  the  infinitive  in  such 
cases  is  common ;  cf.  113,  383,  447,  683,  etc. 

400.  fuerat :  fuisset  would  have  expressed  the  idea  as  contrary 
to  fact.     Phormio  uses  an  expression  that  is  non-committal,  pre- 
tending that  the  falsity  of  the  supposition  will  be  so  self-evident, 
that  the  answer  may  be  safely  left  to  any  one. 

filius  :  notice  the  effect  of  placing  filius  before  the  quor,  i.e. 
I  have  nothing  to  say  to  you  —  your  son,  why  didn't  he,  etc.  See 
note  on  200. 

401.  filium  narras :  for  de  filio,  just  as  one  might  say,  "Do 
you  talk  my  son  to  me  ?  " 

403.  magistratus  adi  implies  an  intention  of  petitioning,  hence 
followed  by  an  wi-clause. 

404.  Notice  the  emphatic  position  of  tibi,  i.e.  it  is  certain  they 
would  do  it  for  no  one  else.     See  note  on  200. 

When  a  case  was  once  settled  in  an  Athenian  court,  there  was 
as  a  rule  no  appeal ;  not  so,  however,  at  Rome. 

405.  solus  regnas :  are  sole  monarch,  a  thing  abhorred  by  both 
Greeks  and  Komans.     This  ironical  speech  of  Phormio  is  calculated 
to  recall  Demipho  to  his  senses.    Demipho's  reply  shows  that  it 
has  had  the  desired  effect. 

407.  uerum  tamen  •  sometimes  written  together  as  a  single 
word. 

410.  abduc  hanc,  minas  quinque  accipe :  one  might  expect 
quinque  minas  tibi  dabo,  si  hanc  abduxeris.  The  use  of  imperatives 
betrays  greater  emotion,  as  does  also  the  position  of  abduc  hanc  — 
an  idea  which  in  Demipho's  mind  crowds  to  the  front  and  asserts 
itself  before  its  time. 

abduc :  see  note  on  309. 

mina :  Greek  /xra.  The  Latins  often  thus  inserted  a  vowel  to 
facilitate  the  pronunciation  of  words  borrowed  from  the  Greek, 
e.g.  Alcumena  ('AA*/^?;),  Aesculapius  ('Aer/cX^Trtis).  Minae  quin- 
que would  be  somewhat  more  than  $  90.  Demipho  prefers  the 


NOTES.  109 

alternative,  permitted  by  the  law,  of  giving  dowry.    See  note  on 
125.     On  the  reading'of  this  verse,  see  App. 
411.    suaui's:  see  note  on  295. 

413.  meretricem  .  .  .  abusus  sis :   for  the  ace.,  see  note  on 
281  f.     The  iambic  senarius  seldom  admits  a  monosyllable  in  the 
last  foot  unless  it  is  joined  by  elision  to  the  preceding  word  ;  but 
this  rule  does  not  apply  to  monosyllabic  forms  of  esse.     CL  448. 
See  App. 

414.  amittere :  see  note  on  141. 

415.  in  se  admitteret  refers  to  a  giving  up  of  one's  principles  ; 
committere  is  used  in  a  more  aggressive  sense  of  offenses  against 
society. 

418.  nos  unde:  sc.  proxumi  sumus.     For  the  meaning  of  this 
position  of  nos,  see  note  on  jilius,  400. 

one  denotes  impatient  deprecation. 

419.  actum  ne  agas :   don't  kill  a  dead  dog ;  more  literally, 
don't  try  a  suit  that's  already  tried,  a  proverb  originating  in  the 
custom  in  Athenian  courts  of  allowing  no  appeal.    See  note  on  404. 
This  "etymological  figure"  is  extremely  common  in  Plautus,  but 
comparatively  rare  in  Terence. 

non  agam :  a  rhetorical  question  of  obligation  or  propriety. 
There  is  no  such  thing  in  Latin  as  a  negative  question  of  delibera- 
tion, corresponding  to  /ti}  with  the  subjunctive  in  Greek.  Questions 
with  non  which  have  been  so  classed  (the  few  introduced  by  ne  are 
all  dependent}  are  always  rhetorical  questions,  the  answer  to  which 
is  regarded  by  the  speaker  as  settled.  There  is,  then,  no  idea  of 
deliberation  involved.  See  note  and  App.  on  345.  One  might  ex- 
pect here  ne  agam  f  depending  upon  a  verb  of  ordering,  understood. 
See  App. 

420.  modo  :  only,  just.     Cf.  496. 
423.   iam  ducendi  aetas :  see  App. 

425.  ipsum :  commonly  used  in  apposition  with  something  for 
the  purpose  of  contrasting  it  with  something  else.     Here  the  con- 
trast is  with  uxor. 

426.  te :  person  regarded  as  means.    The  English  starts  with  the 
same  conception,  as  the  use  of  "with"  shows  ("do  with  your- 
self").    See  note  on  137. 

feceris :  a  true  fut.  pf.,  rather  than  one  used,  like  fecero  in  882, 


110  PHORMIO. 

to  emphasize  the  promptness  and  certainty  of  the  future  accomplish, 
ment  of  an  act.  The  feeling  is,  it  will  be  better  for  you,  if  you  shall 
have  done,  etc.  See  note  on  808. 

427.  aduorsum :  post-positive,  as  often  in  early  Latin,  rarely 
in  later  writers. 

428.  infelix  :  cf.  the  English  use  of  wretch  (meaning  scamp), 
which  started  with  the  idea  of  wretched,  e.g.  Shakespeare,  Comedy  oj 
Errors,  V,  1,  27: 

Fie  on  thee,  wretch  !  'tis  pity  that  thou  livest 
To  walk  where  any  honest  men  resort. 

429.  bene  habent :  se  is  commonly  expressed ;  cf.  e.g.  820,  ut 
meae  res  sese  habent. 

430.  feceris :  see  note  on  426. 

431.  tuam  has  an  emphatic  position.    B.  350,  5  c;  G.  676,  R.  1. 
expetam  :  repeating  the  thought  of  Phormio  ;  like  nossem,  382, 

except  that  the  latter  repeats  also  the  word. 

432.  te  uisum   .   .    .   uelim:  cf.   "I  want  nothing  said  about 
it,"  "  I  want  a  person  called,'11  etc. 

uelim  :  for  the  subjunctive,  see  note  on  expetam,  431. 
435.    hoc  age :  see  350,  note. 

437.  dixi :  a  technical  term  for  ending  a  speech ;  cf.  Cic.  Verr.  I, 
1,  end.     Here  it  implies  that  he  means  what  he  says. 

438.  Phormio  models  his  reply  after  the  words  of  Demipho. 
dignum:  first  means  worthy,  proper  in  conduct  or  character, 

then,  as  here,  proper  in  the  widest  sense. 

439.  dicam  :  not  dicam.    A  play  upon  dixi  is  probably  intended. 

440.  quid :  subject ;  opus :  predicate  nominative.    A.  &  G.  243  e, 
R.  ;  B.  218,  2  ;  G.  406  ;  H.  414,  note  4. 

domo  me :  a  business-like  order,  in  which  the  speaker's  manner 
and  gesture  would  supply  the  verb. 
On  the  question  of  scene-division  at  this  point,  see  App. 


ACT  III,    SCENE  3   [II,   4]. 

442.   hisce:  see  Introd.,  p.  xlv. 

446.  eo :  see  note  on  dico,  388. 

447.  quid  ago :    such  uses  of    the  indicative    in    deliberative 


NOTES.  Ill 

questions  are  very  common  in  early  Latin,  and  occur  occasionally 
later,  e.g.  in  Catullus,  Vergil,  and  the  Letters  of  Cicero. 

Cratinum  censeo  and  mene  uis,  448 :  see  note  on  399. 

448.    For  the  monosyllabic  ending,  see  note  and  App.  on  413. 

449  ff.  Notice  how,  in  the  midst  of  the  deference  ,shown  by  the 
lawyers  for  each  other's  opinion,  the  ego  and  the  tnihi  keep  cropping 
out  in  what  they  say. 

rem :  interest.  The  word  res,  non-committal  as  it  is  in  meaning, 
should  always  be  translated  to  suit  the  context. 

450.  te  absente :  usurping  the  place  normally  occupied  by  the 
subject,  receives  the  emphasis,  showing  that  in  the  opinion  of 
Cratinus  the  whole  case  turns  upon  this  one  point. 

451.  in  integrum :  lit.  to  an  untouched  (in,  tango)  condition,  i.e. 
the  marriage  should  be  considered  null  and  void. 

453.  itast :  looking  forward  to  quod  homines,  etc. 

457.  amplius :  were  it  not  that  Terence  seldom  makes  an  allu- 
sion to  anything  purely  Roman,  one  would  think  he  had  in  mind 
here  the  technical  term  for  adjourning  a  case  for  the  purpose  of 
collecting  further  evidence,  viz.  ampliatio. 

458.  num  quid  nos  uis :  see  note  on  151. 

459.  dudum:   before;   referring  sometimes  to  the  immediate, 
sometimes  to  the  distant,  past. 

460.  negant  redisse :  this  omission  of  the  subject  of  redisse 
violates  common  Ciceronian  usage.    A.  &  G.  336  a,  1;  B.  314,  5 ; 
G.  527,  3. 

461.  is :  emphasized  by  its  position.     The  lawyers  having  failed, 
he  is  the  last  resort.     See  note  on  200. 

462.  quoad  se  recipiat:   representing  the  fut.  ind.  of  direct 
discourse.     On  this  use  of  quoad,  see  note  on  148. 

464.  eccum  :  i.e.  ecce  eum;  earn,  eos,  eas,  ea,  ilium,  etc.,  are 
similarly  combined  into  eccam,  eccos,  etc.  The  ace.  seems  to  be 
due  to  the  general  objective  feeling  involved  in  ecce,  which,  with  its 
ace.,  is  often  used  without  reference  to  the  construction  of  the  rest 
of  the  sentence,  e.g.  484,  eccum  ab  sua  palaestra  exit  foras;  Plaut. 
Mil.  1281,  nescio  quis  eccum  incedit. 

recipere :  for  recipientem.     See  note  on  7. 


112  PHORMIO. 


ACT  III,   SCENE  4  [HI,   1]. 

465.  enim  uero :  generally  written  as  a  single  word.    Enimuero, 
which  commonly  stands  first  in  its  sentence,  is  a  reminiscence  pre- 
served by  classical  Latin  of  the  time  when  enim  could  begin  a  sentence. 

multimodis  ;  i.e.  multis  modis. 

466.  itane:  for  this  use  of  -ne,  see  note  on  153. 
uitam :  synonymous,  to  Antipho's  mind,  with  Phanium. 

aliis  serves  both  as  a  "dative  of  agent"  with  tutandam  and  as 
the  indirect  object  of  dedisse.  Some  authors,  e.g.  Horace,  are 
especially  fond  of  these  double  constructions. 

468.  ut  ut,  sometimes  written  utut,  is  used  almost  exclusively 
with  forms  of  esse  or  its  equivalents,  e.g.  se  habere. 

consuleres :  statement  of  obligation  or  propriety  in  the  past. 
See  note  and  App.  on  297. 

469.  quid  .  .  .  poteretur :  the  ace.  with  potior  is  mostly  ante- 
and  post-classical.     Terence  uses  the  ace.  three  times  with  this 
verb,  the  abl.  only  once  (830).     The  genitive  is  rare.     The  forms 
poteretur  and  potltur  are  preferred  by  Terence  to  those  of  the  fourth 
conjugation. 

tuam :  objective. 

470.  miserae  :  probably  dat. 

471.  et  quidem  :   introducing,  as  often,  a  confirmation  of  a 
statement  just  made. 

iam  dudum  .  .  .  incusamus :  when  an  act  has  begun  in  the 
past  and  is  still  going  on,  the  English  idiom  refers  especially  to 
the  part  of  it  that  is  past,  e.g.  we  have  long  been  censuring  ;  the 
Latin,  especially  to  the  part  that  is  present,  e.g.  we  are  censuring 
already  long.  One  is  as  logical  and  natural  as  the  other. 

qui  abieris :  A.  &  G.  320  e  ;  B.  283,  3  a  ;  G.  633  ;  H.  517. 

474.  subolet:    lit.  it  emits  (or  there  is)  an  odor,  a  colloquial 
expression  like  our  "smell  a  rat,"  but  it  is  used  only  impersonally, 
or  with  a  neuter  pronoun  as  subject.     In  Heaut.  899,  subolat  is 
formed  according  to  the  3d  conjugation. 

475.  nisi :  akin  in  meaning  to  nisi  quod  (except  that"),  modifying, 
or  making  an  exception  to,  the  general  assertion  just  made  in  nescio. 
Cf.  952  f.  ;  And.  663  f.  ;  Eun.  826  f.  ;  Heaut.  541  f. 


KOTBS.  113 

476.  ut  aliis :  for  ut  in  aliis.     See  note  on  171. 

strenuom  hominem  praebuit  ;  with  the  omission  (rare  with 
praebere)  of  se,  cf .  "he  showed  the  coward,"  for,  "  showed  him- 
self to  be  a  coward."  Apul.  Met.  X,  28,  talem  parentem  praebuit 
qualem  exhibuerat  uxorem. 

477.  confutauit:  cooled  down. 

478.  ego  quod  potui  porro :  he  modestly  omits  the  remaining 
words  (fed  in  the  principal,  facere  in  the  subordinate,  clause) 
necessary  to  complete  the  sense,  condensing  the  mention  of  his 
own  services  into  the  smallest  possible  compass. 

480.  quid  eum:  the  ace.  is  probably  the  object  of  mansurus 
est  understood,  why  him?  It  might,  however,  be  explained  as  due 
to  the  general  objective  feeling  which  prompts  the  question.  Cf. 
e.g.  755. 

ut  aibat  sese  uelle :  where  we  should  expect  uolebat,  ut  aibat, 
facere,  etc.  The  position  of  ut  aibat  at  the  beginning  makes  the 
subordination  of  the  rest  of  the  sentence  seem  not  unnatural. 
Cf.  Ad.  648,  ut  opinor  eas'non  nosse  te,  for  eas,  ut  opinor,  non 
nouisti  tu. 

aibat :  in  early  Latin  and  in  poetry,  verbs  of  the  4th  con- 
jugation frequently  have  -ibam  for  -iebam;  cf.  572,  582,  624, 
etc. 

482.   metuist :  i.e.  metuis  est.     See  note  on  154. 

uidere :  quantum  metuist  mihi  —  quantum  metuo,  and  takes  the 
infinitive  for  the  same  reason,  e.g.  in  Plaut.  Pseud.  305,  metuont 
credere  omnes;  Catull.  64,  146 ;  Livy,  34,  27,  10. 

patruom  :  subject  of  uenire  understood. 

484.  palaestra :  humorously  applied  to  the  house  where  Pam- 
phila  lives. 

ACT   III,   SCENE   5  [2]. 

486.   non  audio  :  see  note  on  388. 

488.  quod  lubenter  audias:  a  "predicating  characterizing" 
(see  App.)  clause  of  the  original  type,  something  which  you  would 
gladly  hear,  the  subjunctive  still  having  the  same  force  as  in  an 
independent,  paratactical  clause.  Notice  the  following  sorts  of 
characterizing  clauses,  all  expressed  in  Latin  by  the  same  mech- 
anism : 


114  PHORMIO. 

1.  Predicating:  (a)  He  is  a  man  who  would  cheat  (original  type). 

Cf.  554. 
(b)  He  is  a  man  who  cheats  (developed  type). 

2.  Potential :  There  is  no  plan  by  which  it  can  (may)  be  done 
(nihil  est  undefiat).    Cf.  597,  1030. 

3.  Volitive  (purpose):  Men  are  trying  to  make  machines  which 
shall  fly ;  here  the  character  of  the  machines  is  what  the  men  pur- 
pose to  bring  about.     Cf.  341. 

Besides  these,  there  is  the  characterizing  clause  of  obligation  or 
propriety  :  I  see  nothing  on  account  of  which  you  should  (ought  to 
be)  glad  (nihil  ego  uideo  quod  gaudeas).  Such  clauses  are  com- 
monly classed  as  developed  from  the  volitive  idea,  but  see  Am. 
Journ.  of  Philology,  Vol.  XV.  (Latin  Prohibitive,  Part  II.). 

489.  hoc  :  the  next,  this  pronoun  referring  always  to  something 
near  the  speaker  in  thought  or  in  actual  location. 

491.  suo  suat  capiti    (lest  he)    be  fixing  up  something  (i.e. 
trouble)  for  his  own  head.     Geta,  interrupting,  gives  this  sudden 
turn  to  a  sentence  which  Antipho  intended  to  finish  with  an  expres- 
sion indicating  danger  to  Phaedria. 

uereor  :  such  a  thing  would  really  afford  him  pleasure.  He  uses 
the  word  uereor  merely  to  preserve  the  parallelism  with  Antipho's 
metuo,  well  knowing  that  he  will  be  understood. 

492.  hatiolare  :  the  fact  that  this  word  has  come  to  be  used  of 
senseless  prating  shows  into  what  disrepute  the  calling  of  the 
harioli  had  already  fallen. 

fabulae  (/an)  first  meant  talk  about  something,  a  story ;  then, 
a  special  kind  of  story,  viz.  a  drama  ;  sometimes  as  here  mere  talk, 
i.e.  nonsense. 

493.  faeneratum :   commonly  deponent,   but  not  always ;  cf . 
Ad.  219,  faenerat. 

logi :  \67<n  Latinized. 

496.  tu  mini  cognatus,  etc. :  i.e.  if  you  will  grant  me  this,  I  will 
regard  you  as  a  relative,  as  a  very  father  to  me,  etc. 

497.  adeon  :  for  this  use  of  n(e)  in  exclamations,  see  note  on  153. 
499-500 :  modeled  ironically  after  Phaedria's  last  utterance. 
500.    phaleratis :  fitted  out,  as  it  were,  with  phalerae  (spangles), 

jine,  xhowy. 

ducas,  ductes  :  of  attempted  action,  as  often. 


NOTES.  115 

ducas:  lead  (i.e.  at  will~),  deceive,  cheat,  as  in  And.  180,  644, 
etc. 

me :  see  App. 

ductes :  frequentative,  playing  upon  the  meaning  of  ducas  ;  the 
girl  is  to  be  cheated  all  the  rest  of  her  life,  if  she  gets  him.  Aside 
from  the  jest,  however,  ductare  is  a  technical  expression  for  taking 
to  one's  self  a  concubine. 

501.  miseritumst :  the  perf .,  where  we  should  expect  the  pres., 
seems  to  be  used  as  a  more  energetic  expression.     Cf.  "The  man 
who  hesitates  has  lost  his  chance,  is  lost,"  etc.,  as  compared  with 
"loses  his  chance,"  etc.    Such  expressions  disregard  the  progress 
of  the  act,  and  look  merely  at  the  condition  resulting  from  its 
prompt  accomplishment.     Similar  uses  of  the  perfect  tense  (espe- 
cially in  the  subj.  mood)  are  far  more  common  in  Latin  than  in 
English,  e.g.  in  expressions  like  ne  feceris,  and  in  the  so-called 
gnomic  perfect.     See  App. 

ueris :  see  App. 

similis  sui  :  similis  takes  the  gen.  in  early  Latin,  the  dat.  (com- 
monly) in  post- Augustan  Latin.  The  intervening  period  is  one  of 
transition,  in  which  both  the  gen.  and  the  dat.  are  frequent.  With 
the  gen.,  cf.  "Ms  like,"  "the  like  of  him,"  and  with  the  dat., 
"like  him,"  "like  unto  him." 

502.  alia  .  .  .  sollicitudine  :  i.e.  trouble  (far)  different  from 
(i.e.  less  engrossing  than)  that  in  which  he  is  now  involved.     See 
App. 

503.  autem,  starting  with  the  meaning  on  the  other  hand,  but, 
came  to  be  frequently  used  by   the  comic  poets,    in  questions 
prompted  by  a  feeling  of  opposition  or  reproach;  e.g.  601,  775, 
788  ;  cf.  note  on  389. 

504.  fortunatissume  Antipho  :  Phaedria  has  just  referred  (502) 
to  Antipho  as  also  involved  in  serious  trouble,  but  at  sight  of  the 
latter  his  tone  suddenly  changes,  and  he  thinks  that  Antipho  is 
fortunate  after  all  in  comparison  with  himself. 

505.  cum  :  seldom  so  far  removed  from  its  case. 

506  f .  auribus  teneo  lupum :  Donatus  gives,  as  the  Greek 
proverb  from  which  this  was  taken,  ru>v  uruv  exu  r^v  MKOV  OVT' 
jf%etc  OVT'  Atfreivai  dvva/juu. 

507.  See  App. 


116  PHORMIO. 

508.  heia,  ne  .  .  .  sies :  this  ne  clause  must  be  regarded  as 
dependent,  careful  now,  lest,  etc.  With  very  rare  exceptions  (and 
these  are  easily  accounted  for),  prohibitions  only  of  the  mildest  sort 
are  expressed  by  ne  with  the  present  subjunctive.  If  this  were  a 
prohibition,  we  should  expect  ne  .  .  .  fueris.  B.  276  ;  G.  272,  2,  R. 

parum  :  adverbs  are  not  infrequently  thus  used  with  substantives 
which  characterize,  i.e.  which  are  in  effect  adjectival.  Cf.  Plaut. 
Mil.  11,  tarn  bellatorem;  Pers.  683,  sat  leno. 

610.   ain :  what !  as  often. 

mutet :  break. 

513.  dum  .  .  .  aufero  :  while  ...  7  am  getting. 

514.  ne  oppertus  sies :  the  perf .,  instead  of  the  pres.  subj.  or 
the  imperat.,  betrays  the  emotion  of  the  speaker.     As  regards  the 
relative  vigor  of  the  two  tenses,  the  difference  between  them  is 
similar  to  that  between  "  be  gone ! "  and  "  go  !  "     See  notes  on  501 
and  516. 

516.  idem:  in  English  one  would  say  too;  a  common  use  of 
idem  where  an  additional  statement  is  emphatically  made  regard- 
ing the  same  person. 

fueris  :  for  eris.  Fui,  fuero,  etc.  for  SMTO,  ero,  etc.,  in  compound 
tenses  are  especially  common  in  early  Latin  in  deponent  verbs. 

conduplicauerit :  a  future  perf.  is  often  used  in  Latin  as  a  vig- 
orous means  of  emphasizing  the  promptness  and  certainty  of  a 
future  act.  It  will  be  so  prompt  and  certain  that  it  is  indicated 
by  a  tense  that  lays  stress  upon  its  actual  accomplishment.  Cf. 
"Utter  one  word,  and  you  are  a  dead  man,'1'1  '•'•Have  done  with 
such  talk  I  (if  you  do  not,  you'll  repent  it),"  expressions  prompted 
by  a  similar  feeling.  This  use  of  the  fut.  perf.  must  be  carefully 
distinguished  from  the  true  fut.  perf.,  on  the  one  hand,  and  the 
simple  fut.,  on  the  other.  See  notes  501  and  514. 

518.  horunc  :  for  the  gender,  see  A.  &  G.  187  b ;  B.  235 ;  G.  286, 
1,  and  290;  H.  439. 

519.  neque  ego  neque  tu :  probably  without  any  definite  verb 
understood.    The  lack  of  a  verb  would  be  supplied  by  an  impatient 
gesture.     Dziatzko  understands  potero  pati ;  but  the  idea  called  for 
seems  to  be,  neither  you  nor  I  need  bother  about  that  —  that's  his 
own  business. 

619.   See  App. 


NOTES.  117 

quod  ea  dignus:   sc.  accipere.    See  note  on  399.     Cf.  Plaut. 
Pseud.  941,  quantum  dignus  es,  tantum  dent. 
duint :  see  note  on  123. 

520.  ego  te  :  notice  the  usual  juxtaposition  of  the  two  pronouns, 
here  indicating  impatience  and  disgust:  i  have  put  up  with  YOU,  etc. 
Where  no  special  emphasis  is  intended,  ego  is  commonly  omitted. 

521.  contra:  this  prepositional  use  of  contra  is  rare  in  early 
Latin.    Cf.  Plaut.  Pseud.  155  (rejected  by  some);  Pers.  13;  Trag. 
Rel.  476  (Ribbeck);  Ter.  Ad.  44. 

523.  tibi  quidem  :  see  note  on  164. 

dies  is  commonly  fern,  in  the  sense  of  appointed  time,  masc.  in 
other  senses ;  but  there  are  numerous  exceptions  to  this  rule,  espe- 
cially in  poetry. 

524.  quam  ad :  see  note  on  148. 

dares:  a  volitive  subjunctive,  expressing  permission,  thrown 
back  into  the  past. 

factum :  see  note  on  238. 

526.  uanitatis :  lack  of  principle,  opposed  to  grauitas,  solidity 
of  character ;  the  former  means  lit.  emptiness,  the  latter,  heavi- 
ness. 

dum:  provided. 

ob  rem :  like  in  rem,  449. 

528.  decipis :  with  long  final  syllable.  . 

Notice  the  contrasting  position  of  the  pronouns  in  this  and  the 
following  lines  :  hie  me  —  hie  me  —  ego  hunc  —  iste  me  —  ego  isti. 

529.  scibat :  see  note  on  480. 

532.  dare:  for  a  similar  violation  of  the  rule  for  tenses,  see  And. 
379,  411,  613,  etc.;  and  for  a  corresponding  use  of  the  tenses  of  the 
indicative,  486,  non  audio;  669,  nil  do;  893,  non  eo  j  963,  haereo, 
etc. 

ACT  III,  SCENE  6  [3]. 

535.   quod:  sc.  argentum. 

535-536.  hie  .  .  .  triduom:  when  verbs,  which  (like  exorare)  in 
the  active  voice  take  two  accusatives,  are  used  passively,  one  of  the 
accusatives  becomes  the  subject  of  the  verb,  and  the  other  remains 
unchanged.  If  the  active  voice  were  here  used,  the  clause  would 
run,  hunc  si  pote  fuissem  exorare  triduom  hoc.  In  the  present 


118  PHORMIO. 

passage,  the  hunc  has  become  the  subject  nominative,  and  triduom 
hoc  remains  unchanged. 

quod  .  .  .  promissum  fuerat :  an  ellipsis  must  here  be  under- 
stood as  the  apodosis  of  the  si-clause :  which  had  been  promised 
(and  would  have  been  forthcoming),  if,  etc. 

pote :  see  note  on  379. 

537.  qui  .  .  .  adiuerit:  an  adversative  (sometimes  called 
"concessive")  clause  ;  adiuerit  (commonly  u,  here  w),  instead  of 
adiuucrit. 

539.  equidem :  used  by  Terence  and  Cicero  only  with  the  1st 
pers.;  most  writers,  both  early  and  late,  use  it  also  with  other 
persons,  e.g.  Plaut.  Epid.  601,  adulescentem  equidem  dicebant 
emisse. 

542.  For  the  hiatus  after  itane,  see  Introd.,  p.  xliii. 

etiam  tu  hinc  abis :  do  YOU  then  thus  leave  me  to  face  the 
danger  alone?  Cf.  Antipho's  solus  (539).  The  common  interpre- 
tation, out  tvith  you !  leaves  the  emphatic  tu  without  meaning. 
Eun.  799,  non  tu  hinc  abis,  cited  in  support  of  the  latter  inter- 
pretation, is  of  very  different  character.  It  is  introduced  by 
non,  and  the  tu  is  very  emphatic,  as  may  be  seen  again  in  the 
sentence  following  it,  scin  TU  ut  TIBI  res  se  habeat?  Expres- 
sions of  this  sort  which  really  mean  out  with  you  !  have  no  pro- 
noun expressed  except  when  strong  contrast  with  another  person 
is  intended. 

543.  non  triumpho  .  .  .  :  implies  no  real  deliberation,  i.e.  shall 
I,  or  shall  I  not?  am  I  not  to?  etc.     The  feeling  is,  /  am  now 
rejoicing  over  my  escape  from  one  trouble.     Can  it  be  that  I  am 
not  doing  so  without  being  subject  to  further  orders?  etc.     That 
the  idea  of  triumpho  belongs  distinctly  to  the  present,  without 
reference  to  its  continuance  in  the  future,  is  shown  by  the  following 
etiam  nunc  (even  now,  in  the  midst  of  my  rejoicing). 

544.  in  malo  .  .  .  crucem:  the  crux  symbolizes  the  greatest 
possible  trouble.    See  note  on  368. 

ni  iubeas:  without  your  ordering.  This  subjunctive  clause 
seems  to  be  developed  from  a  so-called  "less  vivid  fut."  ("  ideal ") 
condition,  but  it  drifted  away  from  this  meaning,  and  came  to  be 
used  with  an  indicative  apodosis,  referring  to  present  time.  Cf .  546, 
parumne  est  quod  .  .  .  succenset  senex,  ni  instigemus  etiam?  etc. 


NOTES.  119 

Plaut.  Merc.  692  f.  (685) ,  parumne  hoc  est  quod  amat  Demipho,  ni 
sumptuosus  insuper  etiam  siet? 

546.  parumne :  the  m  being  but  slightly  pronounced. 

547.  ni  instigemus  :  see  note  on  544. 

551.  certumst:  it  is  my  fixed  purpose. 

552.  quod  agas:  the  subjunctive  is  due  to  the  volitive  feeling 
in  iiortant,  this  feeling  extending  through  the  gwod-clause :  do  what 
you  will  —  may  the  gods  prosper  it. 

pedetemptim  tamen:  sc.  agas, 

554.  quod  .  .  .  pigeat:  a  "  predicating  characterizing  "  clause 
of  the  original  type.     See  note  on  488. 

555.  noli  metuere :  a  form  of  prohibition  comparatively  rare  in 
early  Latin,  but  by  far  the  most  common  of  all  forms  in  classical 
times.     It  is  the  one  most  deferential  in  tone. 

556.  bona  mala  :  asyndeton  is  especially  common  in  expressions 
complementary  of  each  other. 

557.  quantum   opus  est .  .  .  loquere :  a  paratactical  form  of 
expression.     See  note  on  358. 

solae :  in  English  one  would  use  an  adverb. 

558.  hui :  equivalent  in  effect  to  a  whistle. 

The  price  of  slaves  varied  according  to  circumstances.  Xenophon 
(Mem.  2,  5,  2)  says  that  some  are  hardly  worth  half  a  mina,  while 
others  sell  for  as  much  as  ten  or,  in  rare  cases,  even  more.  The 
knowledge  of  any  art  increased  the  value  of  a  slave,  music  girls 
especially  commanding  high  prices. 

559.  inuentas  reddam :    a  more  vigorous  expression  for  in- 
ueniam,  laying  stress  upon  the  idea  that  the  act  will  be  an  accom- 
plished thing  in  the  future.     See  note  on  516. 

aufer  te  hinc  :  an  injunction  repeated  in  different  words  in  566. 
Geta  thinks  the  neighborhood  not  a  good  place  for  discussing  their 
plans. 

iam :  right  aicay. 

561.  ei  —  feret:  see  App. 

562.  amico  amicus :   a  proverbial  expression,  solus  being  an 
e  "aggeration :  to  such  a  degree  that  there  is  no  one  like  him. 

566.    quod  faciam :  see  note  on  488. 


120  PHORMIO. 


ACT  IV,    SCENE   1. 

567.    Chremes :  on  the  vocative  lorm  of  this  word,  see  App. 

569-570.  postquam  uidet  (historical  present)  =  postqnam  uidit. 
The  act  is  here  conceived  of  as  prior  to  that  of  profectam  esse, 
though  no  stress  is  laid  upon  the  idea  of  priority  by  the  tense. 
In  manebat  the  imperfect  tense  is  used  because  it  is  conceived  of 
as  still  in  progress  at  the  time  of  profectam  esse.  The  present 
uidet  might  equally  well  have  been  uidebat,  with  a  corresponding 
change  of  conception.  A.  &  G.  234 ;  B.  287  ;  G.  561  and  562  ;  H. 
518. 

572.  profectam  esse  aibant :  strict  logic  would  require  profecta 
est,  ut  aibant. 

illi :  see  note  on  91. 

573.  audieras :  with  the  long  i,  cf.  Hec.  813,  audierit,  and  Ad. 
27,  let  ant,  both  confirmed  by  all  the  Mss.,  and  the  latter  also  by 
the  testimony  of  Donatus. 

574.  pol :  hang  it !    Chremes  does  not  propose  to  be  too  closely 
questioned  about  his  doings  in  Lemnos.     He  may  have  been  at  his 
old  tricks  again. 

578.   quod :  a  relative  referring  to  the  occurrence  just  mentioned. 

679.  condicionem  (con  +  dicere} :  agreement,'  then,  in  a  spe- 
cialized matrimonial  sense,  match,  coming  at  last  to  be  applied 
also  as  here  to  one  of  the  persons  who  formed  it.  The  English 
word,  "match,"  is  also  used  in  both  senses,  e.g.  "They  made  a 
match,"  and  "  He  is  a  desirable  match." 

extrario  :  outsider  is  an  etymological  equivalent. 

682.  adfiiiem :  referring  to  relationship  by  marriage;  consan- 
guineus,  to  relationship  by  blood. 

583.  familiaritas  :  the  relation  existing  between  the  members 
of  afamilia;  then,  any  relation  similar  to  it,  e.g.  intimacy,  etc. 

584.  opus  est  scito :  the  neut.  of  the  perf .  pass,  partic.  is  often 
thus  used  in  the  comic  poets  with  opus  est  and  usus  est.    It  may  be 
translated  as  though  it  were  a  gerund,  though  it  differs  from  the 
gerund  in  substantivizing  the  conception  of  the  verb  in  a  perfected 
passive  form,  rather  than  in  a  progressing,  active  form.     Cf.  the 
English  expression  "There  is  no  need  of  its  being  known,"  in 


NOTES.  121 

which  the  use  of  "its"  shows  that  "being  known"  is  practically 
felt  as  a  substantive. 

585.  aliqua  :  somehoio. 

586.  me  excutiam  atque  egredior  domo :  shell  out,  and  clear 
out.     Cf.  Plaut.  Aul.  646,  excute  pallium.     Another  colloquial  use 
of  excutere  is  seen  in  Hor.  Od.  3,  9,  19,  excutitur  Chloe,  with  which 
may  be  compared  the  slang  phrase,  "  shook  her  lover,"  i.e.  jilted 
him. 

nam,  etc.:  giving  the  reason  for  having  to  "shell  put"  before 
leaving. 

ACT  IV,   SCENE   2. 

591.  neminem :  probably  not  to  be  regarded  here  as  exactly 
equivalent  to  nullum,  but  as  a  substantive,  taking  up  again  the 
hominem  in  negative  form  :  a  cleverer  man  —  none  have  I  seen. 
Nemo  in  a  purely  adjectival  sense  is  extremely  rare,  but  undoubted 
instances  seem  to  occur,  e.g.  Eun.  548,  nemo  homost. 

593.  argentum  opus  ease :    opus  is  here  used  as  a  predicate 
noun. 

quo  facto  fieret :  representing  a  deliberative  question  of  direct 
discourse. 

fieret :  this  quantity  of  the  i  is  found  only  at  the  end  of  an 
iambic  verse  or  half- verse.  See  Introd.,  p.  xxxix,  note  2. 

594.  iatellexerat :  plupf.  instead  of  the  perf.  to  emphasize  the 
promptness  of  the  act.     Cf.  the  similar  use  of  the  fut.  perf.  instead 
of  the  fut.  (e.g.  516),  the  perf.  instead  of  the  pres.  (e.g.  501). 

595  f.   Notice  the  force  of  the  imperfects,  proceeded  to,  etc. 

696.  dari :  notice  that  this  gives  the  cause  of  gratias  agebat. 
The  infinitive,  however,  depends  upon  the  idea  of  thinking  or 
saying  implied  in  the  expression  of  thanks. 

597.  ubi  .  .  .  ostenderet:  a  "potential  characterizing"  clause. 
See  note  on  488. 

Phaedriae  .  .  .  Antiphoni :  notice  the  contrasted  positions. 
The  crowding  in  of  Phaedria's  name  thus  early  in  the  sentence 
shows  that  he,  above  all  others,  was  now  the  object  of  their 
thoughts. 

598.  ad  forum :  see  App. 
ulterior :  further  away,  i.e.  behind. 


122  PHORMIO. 

600.  attat:  by  George  f    Cf.  963,  etc. 

601.  pertimui :  i.e.  just  a  moment  ago. 
autem  :  see  note  on  503. 

belua :  ass  that  I  was,   belua  here  implying  stupidity,  rather 
than  monstrosity. 

603.  commodius  esse,  etc.     Translate  by  the  equivalent  Eng- 
lish proverb.     Commodus  (cum  +  modus),  measuring  with,  of  full 
measure,  of  proper  measure,  suitable;  then,  as  here,  serviceable, 
advantageous.     Cf.  note  on  614. 

604.  a  primo  :  for  this  use  of  a,  see  note  on  340. 

605.  hospitem :  new-comer. 

ACT  IV,   SCENE  3. 

606.  quam  mox  recipiat :  depending  upon  the  idea  of  "  to  see," 
implied  in  expecto. 

608.  quo  impellat :  an  indirect  question  asking  about  a  future 
fact.    This  should  be  carefully  distinguished  from  questions  like 
quo  pacto  fieret  in  593.     The  direct  form  of  the  latter  is  a  question 
about  what  shall  occur,  and  takes  the  pres.  subjunctive  ;  the  direct 
form  of  quo  inpellat  is  a  question  about  what  will  occur,  and  takes 
the  fut.  ind.     They  both  imply  doubt,  but  only  the  former  implies 
deliberation.     Unfortunately,  many  grammars  use  the  terms  "du- 
bitative"  and  "deliberative"  indiscriminately. 

609.  noster:  implying  both  familiarity  and  esteem.     Cf.  Ad. 
883  ff.,  where  a  master,  commonly  harsh  and  severe,  is  trying  to 
reform,  and  be  civil  to  everybody  :   O  Sure  noster,  salue :  quid  fit? 
quid  agitur?    After  thus  addressing  Syrus,  he  reflects  as  follows 
upon  the  success  of  his  effort :  iam  nunc  haec  tria  primum  addidi 
praeter  naturam :  "0  noster!  quid  fit?  quid  agitur  ?" 

610.  uolup :  an  ante-class,  adverb  (opp.  to  aegre),  common  in 
Plautus,  but  occurring  in  Terence  only  here  and  Hec.  857. 

quid  agitur :  how  goes  it? 

611.  compluria  :  very  many,  used  here  as  a  stronger  term  than 
the  preceding  multa,  though  it  is  often  used  in  a  weak  sense. 
Compluria  for  complura  is  common  in  early  Latin.     Cf.  the  i  in 
the  regular  gen.  complurium.    See  App. 

613.   drxeras :  a  true  plupf.,  referring  to  time  prior  to  the  last 


NOTES.  123 

utterance  of  Chremes,  just  as  one  often  says  in  reply  to  someone's 
suggestion,  "I  hadn't  thought  of  that" — i.e.  had  not,  a  moment 
ago. 

614.   circumiri :  colloquial,  to  be  got  around,  i.e.  imposed  upon. 
For  such  uses  of  the  inf.,  see  notes  on  92  and  153. 

614.  commodum  :    as   a  temporal  adverb,   is  colloquial.     The 
steps  in  its  development  may  be  represented  thus :  measuring  with, 
having  proper  measure,  exactly  corresponding  with;  then,  as  an 
adverb  with  the  idea  of  exactness  predominating,  precisely ;  then 
applied  to  a  time,  as  here,  just  now.    Cf.  modo,  used  in  the  same 
sense.     The  English  word  "just"  ("I  was  just  discussing,"  etc.) 
had  a  similar  development  starting  with  the  idea  of  ius,  what  is 
right  and  proper. 

615.  id  quidem :  cf.  note  on  164. 

617.  tit  obuiam  :  see  note  on  52. 

618.  qui  istanc  :  a  suitable  verb  is  easily  supplied. 

619.  uisumst:  seemed  proper. 

620.  prendo  .  .  .  solum :  button-hole. 

621.  quor  non  uides  .  .  .  ut:  see  to  it  that.     Compare  the  com- 
mon use  of  uide  (to  which  quor  non  uides  is  practically  equivalent) 
with  ut  and  ne,  e.g.  803,  uide  ne  pecces'  Hec.  484;  Plaut.  True. 
701,  uide  tu  tuom  efficias,  etc. 

sic  :  i.e.  in  the  way  I  am  about  to  suggest. 

623.  liberalis  :   a  person  of  fine  sensibilities.     See  note  on  168. 
fugitans :  shy  of;  felt  as  an  adj.     A.  &  G.  218  b  ;  B.  204,  1  a ; 

G.  375  and  notes ;  H.  399,  II. 

624.  nam :  introducing  an  explanation  of  what  is  only  implied 
in  the  preceding  line :  (one  might  otherwise  expect  him  to  resort  to 
harsh  measures)  for,  etc.     What  Geta  says  in  624  and  625  would 
have  especial  weight  with  Demipho,  as  it  would  remind  him  that 
his  lawyers  really  advised  nothing  of  the  sort,  but  regarded  the 
issue  of  a  lawsuit  as  doubtful  (cf.  446  f.). 

modo  :  see  note  on  614. 

625.  auctores  fuere  ut :  urged  him  to,  lit.  were  suggesters  (oj 
the  plan)  that. 

626.  hodie :  see  note  on  377. 

628.   iaru  id  exploratumst :  that  point  has  been  already  looked 
into.  . 


124  PHORMIO. 

sudabis  satis:  you'll  find  it  hot  enough. 

629.  inceptas :  the  Germans  use  anfangen  in  exactly  the  same 
sense. 

ea  eloquentia  may  be  the  subject  of  est,  or  an  abl.  character- 
izing Demipho.  Ea  here  is  equivalent  to  talis  (or  tali). 

630.  pono  :  granted  that ;  lit.  Hay  (it)  down  (as  an  hypothesis). 
tandem  :  at  length,  at  last,  then  as  here  after  all. 

631.  capitis :  referring,  as  often,  to  personal  liberty  and  civic 
rights.    If  Phormio  were  beaten  in  the  suit  and  the  court  should 
find  damages  against  him,  he  would  have  no  money  with  which  to 
pay  them.     He  would  accordingly  become  Demipho's  slave,  thus 
losing  his  caput.     Demipho  on  the  other  hand,  if  beaten,  would 
be  able  to  pay  whatever  damage  the, court  might  impose.     His 
caput  was  not  in  danger. 

633.  die  quid  uis:  see  note  on  358. 

634.  in  manum :  cash  down. 

635.  facessat:  hinc  sefaciat,  id  est,  abeat,  says  Donatus. 

636.  di  sunt  propitii :  mental  derangement  of  any  sort  was 
supposed  to  be  due  to  the  ill  will  of  the  gods ;  sagacity  and  wisdom, 
to  their  favor.     Cf.  e.g.  Plaut.  Mil.  700,  di  tibi  propitii  sunt,  you 
are  level-headed. 

638.    ut  est  ille  bonus  uir :  so  good  a  man  is  he. 

commutabitis :  bandy. 

640.  non  potuit  melius  peruenirier  eo  :  we  could  not  better 
accomplish  the  purpose,  etc.,  lit.  it  could  not  better  be  come  through 
to  that,  etc. 

643.  nimium  quantum :  an  amount  that  is  altogether  too  much. 
si  ...  daret:  a  so-called  " less  vivid  future  "  ("ideal")  con- 
dition, from  a  past  point  of  view. 

644.  talentum  magnum :   referring  to  the  Attic  silver  talent, 
called  magnum  to  distinguish  it  from  other  talenta  of  less  weight 
and  value.     This  Attic  talent  was  the  one  most  extensively  recog- 
nized. 

immo  malum  hercle :  great  Scott!  Pll  give  him  a  big  thrash- 
ing, rather  (than  his  lbig  talent"1},  dabo  being  understood  from  the 
preceding  daret. 

645.  adeo :  precisely,  just.     See  note  on  389.     In  this  sense  it 
is  chiefly  used  in  connection  with  a  pronoun. 


NOTES.  125 

ei :  with  long  e  as  in  972,  1030  ;  Hec.  573. 

646.  locaret:  sc.  in  matrimonium. 

panii  :  A.  &  G.  222  ;  B.  210,  4  ;  G.  381  and  382  ;  H.  408,  III. 

647.  non  suscepisse :   did  not  undertake  to  rear,  lit.  did  not 
take  up  (from  the  (/round).     A  father  could,  if  he  chose,  have  a 
new-born  child  put  to  death.     If  he  was  willing  to  bring  up  the 
child,  it  was  customary  for  him  to  indicate  the  fact  by  lifting 
it  from  the  ground.    The  penurious  Demipho,  to  avoid  the  extra 
expense  of  providing  a  dowry  for  her,  had  not  reared  a  daughter 
of  his  own,  but  a  worse  calamity  had  overtaken  him  —  he  must  now 
provide  a  dowry  for  an  entire  stranger.     The  dowries  mentioned 
in  Terence  vary  all  the  way  from  5  minae  (about  $90)  to  10  talents 
(about  §11,000).     Cf.  Heaut.  838,  940  ;  And.  950  f. 

quae  .  .  .  petat :  a  "  predicating  characterizing  "  clause  of  the 
developed  type.     See  note  on  488. 

648.  ut  ad  pauca  redeam :  to  put  it  in  a  nutshell,  lit.  to  return 
(to  the  beginning  and  reduce  all)  to  a  few  words. 

illius :  to  be  read  either  as  Illius,  or  illius. 

651.  frier  at :  viewed  as  prior  to  the  time  of   uolui.    It  would 
seem  more  natural  to  say  fuit,  with  reference  merely  to  the  speak- 
er's past.    Gf.  Ad.  686,  uirginem  uitiasti,  quam  te  non  ius  fuerat 
tangere. 

652.  uenibat :  observe  the  force  of  the  imperfect.    For  the  form, 
see  note  on  480. 

653.  in  seruitutem  ...  ad  ditem.     Notice  the  means   em- 
ployed to  heighten  the  pathos,  in  seruitutem  instead  of  in  matri- 
monium, and  ad  ditem  (ad  expressing  mere  motion  toward,  delivery 
at  the  house  of,  like  so  much  merchandise)  instead  of  diti,  which 
would  cover  the  "for"  idea,  as  well  as  the  "to"  idea,  and  call 
attention  to  the  interest  felt  in  the  proceeding  and  to  the  advan- 
tage it  would  bring. 

pauperem  :  a  wife  who  had  brought  only  a  small  dowry  to  her 
husband  occupied  a  comparatively  humble  position  in  the  family. 

654.  erSt:  cf.  decipls,  528. 

655.  quae  adferret:  a  "predicating  characterizing"  clause  of 
the  original  type,  thrown  into  the  past.     See  note  on  488. 

qul  dissoluerem  :  a  clause  of  purpose  ;  qui,  whereby.    See  130. 
note. 


126  PHORMIO. 

656.  si  uolt  Demipho,  etc. :  notice  the  emphatic  position  ot 
uolt,  if  Demipho  is  only  icilling.  This  implies  that  Phormio 
appreciates  the  excessive  character  of  his  demands,  but  neverthe- 
less wishes  it  understood  that  all  depends  upon  Demipho's  yielding. 

660.  inprudentem  (in  +pro  +  uidens,  not  fore-seeing):  i.e.  with- 
out realizing  the  consequences  of  it  all. 

661.  animam  :  an  exaggeration  for  an  enormous  amount. 
oppositus  pignori  ob :  mortgaged  /or,  lit.  presented  (put  up 

againsfy  for  a  pledge  in  consideration  of. 

663.  oie'l :  whew  !  though  it  will  not  always  bear  this  translation. 

664.  ne  clama  :  ne  with  the  present  imperative  is  strictly  poetical 
at  all  periods,  occurring  in  prose  only  in  Livy,  3,  2,  9,  ne  timete. 

665.  Notice  the  affected  modesty  of  the  diminutives :  aediculae 
(663),  ancillula,  pluscula.     With  pluscula,  a  diminutive  formed 
from  the  nom.  and  ace.  neut.  form  of  the  comparative,  cf.  plu- 
sculum  (Plaut.  Amph.  282  ;   Pers.  21  ;  Cic.  de  or.  2,  24,  99),  com- 
plusculos  (Ter.  Hec.  177),  maiuscula  (Eun.  527),  meliuscula  (Hec. 
354),  tardiuscula  (Heaut.  515). 

667.  sane  :  if  you  will ,-  colloquially  used  with  imperatives. 

668.  sescentas  :  the  most  common  word  for  an  indefinite  large 
sum,  where  the  Greeks  said  pvpias,  and  we  say  "a  thousand." 

scribito :  notice  that  this,  while  a  command  in  form,  expresses 
hardly  more  than  a  permission,  he  may  if  he  choose.  The  two 
ideas,  one  representing  an  urging,  the  other  a  yielding  of  the  will, 
readily  pass  into  each  other.  Cf.  "  you  may  march  yourself  straight 
home,"  where  "may  march,"  an  expression  of  permission,  has  the 
force  of  an  imperative. 

669.  nil  do  :  see  note  on  388. 

inpuratus  me  ille  ut  etiam  inrideat :  for  the  significance  of 
the  position  of  the  first  three  words,  see  note  on  200  ;  and  for  the 
construction  of  ut  .  .  .  inrideat,  see  note  on  304. 

670.  filium :   logically  the  subject  of  ducat,  grammatically  the 
object  of  fac.    This  is  a  common  phenomenon  with  fac  in  colloquial 
Latin,  when  the  logical  subject  of  the  verb  of  the  wi-clause  precedes 
the  ut. 

673.  eicitur :  sc.  Phanium. 

674.  quantum  potest :  quantum  in  this  phrase  seems  akin  t» 
the  ace.  of  extent  and  is  to  be  translated,  according  to  the  context, 


NOTES.  127 

by  to  what  extent,  so  far  as,  or,  when  the  reference  is  to  degree  of 
rapidity  or  promptness,  by  as  quickly  as,  as  soon  as. 
potest:  i.e.  fieri potest.     Cf .  897  ;  Ad.  909. 

676.  illi :  the  relatives  of  the  girl  to  whom  he  claimed  to  be 
betrothed. 

iam  :  at  once,  modifies  the  whole  conception,  constituerunt  dare  ; 
hence  its  position  before  the  entire  phrase,  instead  of  immediately 
before  dare.  The  dowry  was  commonly  given  shortly  before  the 
wedding. 

677.  repudium  renuntiet :  break  off  the  engagement,  lit.  give 
notice  of  the  separation.    Cf.  928,  repudium  remittere.     The  re- 
(in  renuntiare  and  remittere)  emphasizes  the  idea  of  restoration  to 
a  previous  condition. 

678.  quae  quidem  illi  res :  the  expression  quae  res  .  .     bene 
uortat  was  a  common  formula  for  invoking  a  blessing  upon  any 
transaction.     His  having  the  usual  formula  in  mind  accounts  for 
the  contrasting  quidem :  and  may  this  piece  of  work  —  not,  as  is  the 
usual  prayer,  prosper  (bene  uortat)  —  but  uortat  male. 

679.  adeo :  very,  lit.  to  that  degree,  to  such  a  degree,  so,  then  very. 
Cf.  "I  am  so  glad  to  see  you,"  i.e.  very  glad.    See  note  on  389. 

680.  Lemni :  see  note  on  66. 

681.  dixero :  not  a  true  fut.  perf.     See  English  parallels  cited 
in  note  on  conduplicauerit,  516. 

ACT  IV,  SCENE  4. 

682.  hem  :  hello  !  indicating  his  surprise  at  finding  Antipho  here. 
emunxi :  cleaned  out. 

683.  satin  est  id :  an  expression  intended  by  Antipho  to  mean, 
Is  that  all  you  have  done?  i.e.  you  know  you  have  betrayed  me 
besides.     Geta,  trifling,  pretends  to  understand  it  as  referring  to 
the  amount  of  money,  and  replies :  hanged  if  I  know  (whether  it 
is  enough,  or  not) :  it  is  all  I  was  told  to  get.    See  note  on  399. 

684.  eho :  take  that  I 

uerbero :  you  whipping-post  (uerberare,  to  flog). 

685.  narras  :  i.e.  mean  (by  the  above  question). 

narrem  :  merely  echoing  the  preceding  narras.    See  note  on  122 
Cf.  382,  389. 


128  PHORMIO. 

686.  mihi  quidem :  the  quidem  contrasting  mihi  with  others  in 
whose  fortunes  Geta  was  truly  interested  ;  it  conveys  complaint  at 
Geta's  supposed  faithlessness  to  the  speaker.     Contrast  is  also 
intended  with  the  te  quidem  of  the  next  line. 

redit  =  rediit,  as  often.  Cf .  55.  The  verse  is  probably  to  be 
read  as  follows  :  ad  res\tim  mihi  \  quidem  res  \  redit  \  etc. 

planissume  :  in  translating,  reproduce  the  force  of  the  position 
of  this  word  by  a  phrase  of  corresponding  emphasis. 

687.  ut  =  utinam:  cf.  711,  773. 

di  deae,  super!  infer!  :  asyndeton  seems  especially  common  in 
hurried  or  emotional  expressions.  This  is  due  to  a  general  ten- 
dency to  omit,  under  excitement,  what  may  easily  be  supplied. 

688.  exemplum:  example,  then  (as  here)  specialized  in  mean- 
ing, punishment,  which  makes  a  person  an  example  to  others. 

em  =  en,  to  be  carefully  distinguished  from  hem. 
si  ...  uelis :  for  the  subjunctive,  see  A.  &  G.  309  a  ;  B.  302,  2  ; 
G.  595  K.  3  ;  H.  508,  5,  2. 

689.  qui  .  .  .  auferat :  who  would,  etc. 

ad  scopulum :  ad  first  meant  toward,  then  by  implication  all 
the  way  to,  and  finally,  this  last  idea  becoming  specialized  as  here, 
against. 

690.  utibile  =  ut  He,  common  in  Plautus,  but  only  here  in  Terence. 
694.    enim  :  indeed.     See  note  on  332. 

noul :  i.e.  I  dare  say  I 

695-696.  As  Phormio  would  not  be  able  to  pay  back  the  money, 
he  would  have  to  choose  one  of  two  courses  :  he  could  stand  by  his 
agreement  to  marry  Phanium,  or  else  suffer  the  legal  penalty  for 
breach  of  contract. 

697.   quin  .  .  .  possit :  A.  &  G.  319  d;  B.  283,  4  ;  G.  632  ;  H.  504. 

699.  iam  si  argentum  acceperit :  if  he  receives  the  money,  the 
conclusion  at  once  (icwi)  follows  that  he  must  marry  her.  Iam 
strictly  modifies  neither  acceperit  nor  ducendast,  but  rather  the 
mental  act  of  deciding  what  the  logical  conclusion  of  the  condition 
would  ultimately  be.  See  App. 

701.  tandem :  after  all.     Cf .  Lucr.  5,  137. 

702.  uocandi :  sc.  amicos.     Cf .  453. 

sacruficandi :  a  wedding  was  preceded  by  sacrifices  offered  to 
the  deities  of  marriage,  especially  to  Hera. 


NOTES.  129 

paululum :  notice  the  very  emphatic  position,  at  least  some  little, 
etc.  This  word  is  variously  used  as  an  adverb,  an  adjective,  and 
a  substantive. 

704.  iste :  your  man. 

705.  quod:  i.e.  quot.    See  note  on.  169. 

706.  ater  canis:  a  common  object  of  superstition.     It  will  be 
remembered  that  Goethe  represents  the  devil  as  appearing  to  Faust 
in  the  form  of  a  black  poodle. 

707.  inpluuium  commonly  refers  to  a  basin  set  in  the  floor  of  the 
house,  into  which  fell  the  water  from  the  roof  through  an  opening 
directly  above.     This  opening  was  called  the  compluuium.    Occa- 
sionally, however,  either  one  of  these  terms  is  used  to  denote  the 
entire  uncovered  space  including  both  the  opening  in  the  roof  and 
the  basin  in  the  floor.     Cf.  Cic.  Verr.  I,  1,  23,  61 ;  Serv.  Verg.  Aen. 
2,  5,  12  ;  Plaut.  Mil.  159,  287,  etc. 

708.  gallina  cecinit :  Donatus  says  this  was  an  indication  that 
the  wife  would  survive  the  husband. 

708-709.  interdixit  hariolus  ;  haruspex  uetuit,  etc.  It  was 
customary,  when  anything  of  importance  was  to  be  done,  to  learn 
the  will  of  the  gods  regarding  it  by  consulting  their  interpreters. 

709.  ante  bramam :    before  the  winter  solstice,  Dec.  21,  as 
Chremes  had  just  returned  from  Lemnos  with  the  income  of  his 
wife's  estate  (679  f. ).     It  must  then  have  been  after  harvest  time. 
As  he  was  later  than  usual  in  going  thither  (569),  and  remained 
there  unexpectedly  long  (572-3),  we  may  suppose  the  time  to  be 
about  the  first  of  November. 

711.  iustissima,  superlative  and  emphatic  by  its  position,  is  a 
sarcastic  thrust  at  the  utterances  of  the  soothsayers.     See  note  on 
hariolare,  492. 

712.  ut  —  utinam. 

me  uide :  look  to  me  (for  that).  Cf.  And.  350;  Plaut.  Trin. 
808. 

ACT  IV,   SCENE   5. 

713.  quid  uerbonim  duit :  give  us  any  of  his  nonsense  ;  uerba 
dare,  to  give  words  (and  nothing  but  words'),  i.e.  to  practise  deceit. 

714.  hoc  :  he  is  holding  fast  to  his  money-bag, 
amittam  :  let  get  away,  lit.  send  away. 


130  PHOBMIO. 

ego  a  me :  notice  the  juxtaposition  (see  note  on  520)  of  the  pro- 
nouns, both  in  a  very  emphatic  position.  There  is  an  important, 
swaggering  air  about  the  whole  speech. 

quin  .  .  .  adhibeam :  A.  &  G.  319  d ;  B.  283,  4 ;  G.  566 ;  H. 
504. 

715.  ut  cautus  est:  this  differs  from  quam  cautus  est,  in  that  ut 
is  an  adverb  of  manner,  and  quam  an  adverb  of  degree. 

716.  opusfactost:  see  note  on  584. 

718.  rem  ipsam:  the  very  thing  (that  is  going  to  happen), 
referring  to  reiciat. 

720.  nuptum :  the  supine  was  originally  the  ace.  of  a  verbal 
noun  used  to  express  limit  of  motion,  which  fact  explains  why  the 
construction  is  used  only  with  verbs  expressing  or  implying  motion. 
Here  dare  Phormioni  implies  motion. 

723.  malum :  the  deuce.  A  parenthetical  ace.  of  exclamation, 
that  became  a  mere  interjection.  Cf.  948,  976 ;  Ad.  544 ;  and 
Donatus'  note  on  Eun.  4,  7,  10. 

tua  .  .  .  refert :  A.  &  G.  222  ;  B.  211,  4  ;  G.  381  ;  H.  408,  I,  2. 

magni :  A.  &  G.  822  ;  B.  211,  4  ;  G.  382  ;  H.  408,  III. 

ACT  IV,   SCENE  6  [V,   1]. 

728.   quo  :  =  ad  quern? 

referam :  a  technical  term  found  in  such  expressions  as  rem  ad 
senatum  referre,  to  lay  a  matter  before  the  senate. 

730.  The  position  of  era  shows  that  her  mistress  was  uppermost 
in  her  mind.  The  word,  like  the  thought,  comes  first.  See  note 
on  200. 

suasum :  she  had  advised  the  marriage  with  Antipho. 

732.  nam  quis:  often  in  colloquial  Latin  for  quisnam.    This 
use  of  nam  must  not  be  confused  with  the  inferential  nam;  it 
merely  emphasizes  the  question  and  commonly  implies  wonder, 
surprise,  etc. 

a  fratre :  from  my  brother's. 

The  position  of  exanimata  a  fratre,  coming  as  it  does  before  the 
quae,  indicates  the  astonishment  of  the  speaker.  See  note  on  200. 

733.  quod :   referring  in  a  general  way  to  the  part  she  had 
taken  in  bringing  about  the  marriage. 


NOTES.  131 

quom  scirem :  on  the  subjunctive  in  adversative  clauses  in  early 
Latin,  see  note  on  22. 

infirmas :  divorce  was  easy,  and  the  extent  of  Demipho's  influ- 
ence upon  his  son  was  an  unknown  quantity. 

734.  id  consulerem :  consulo  sometimes  means  duly  consider, 
and  in  this  sense  takes  an  ace.  of  direct  object.  Cf.  Plaut.  Most. 
1088  ;  Pers.  840,  etc. 

interea :  i.e.  until  they  should  find  Phanium's  father. 

736.  quid  ago  :  see  note  on  447. 

737.  adeo  an  maneo :  see  note  on  447. 
duni  .  .  .  cognosco :  see  note  on  513. 

741.  nine,  away  from  here,  shows  that  they  were  both  standing 
near  Chremes'  house  ;  istorsum  (isto  +  uorsuni),  (further  along) 
in  your  direction,  shows  that  Sophrona  was,  however,  further  from 
it  than  was  Chremes.  This  is  natural,  as  she  had  just  come  from 
Demipho's  house. 

741.  sodes:  see  note  on  103. 

742.  ne  .  .  .  appellassis :   for  the  form,  see  note  on  308  ;  for 
the  force  of  the  perfect  in  prohibitions,  see  that  on  514. 

743.  st  counts  in  the  verse  for  a  long  syllable. 

744.  saeuam  :  notice  the  force  of  the  position,  who  is  a  perfect 
terror. 

746.  aliqua  :  see  note  on  585. 

747.  istoc  :  causal  ablative  in  emphatic  position,  it  was  on  that 
account. 

749.  illae:   the  reference  would  be  readily  understood  by  So- 
phrona. 

750.  aegritudine :  not  used  of  bodily  ills  until  after  the  Augustan 
period. 

751.  male  factum:  too  bad!  a  mild  expression  for  such  an 
occasion,  but  not  surprising  coming  as   it  does  from   Chremes. 
Est  is  regularly  omitted  with  male  factum  and  bene  factum.     See 
note  on  factum,  524. 

quae  .  .  .  essem :  causal. 

752.  nuptum :  cf .  645  and  720. 

754.  au :  an  exclamation  confined  to  women,  mercy  on  me ! 
Elision  does  not  commonly  occur  in  monosyllabic  interjections. 
See  Introd.,  p.  xliii. 


132  PHORMIO. 

duasne  uxores  habet :  there  is  much  human  nature  in  Chremes' 
astonishment  that  anyone  else  could  have  been  guilty  of  such  a 
thing.  Chremes  does  not  appreciate  the  humor  of  the  question, 
but  his  audience  would. 

755.  illam  alteram  :  see  note  on  480. 
ergo :  here  merely  an  emphasizing  particle. 

756.  posset :  subjunctive  expressing  purpose.     It  might  be  felt 
as  an  indirect  question,  by  an  agreement  as  to  how  he  could,  etc. 

757.  sine  dote :  a  dowry  was  ordinarily  thought  necessary,  in 
order  that  a  clear  distinction  might  be  made  between  a  wife  and  a 
mere  concubine. 

uostram  fidem  :  an  ace.  of  exclamation,  to  be  accounted  for  as 
the  object  toward  which  the  speaker's  emotion  is  directed.  No 
definite  verb  need  be  supplied. 

uostram :  objective,  in  you. 

temere :  a  less  general  term  than  fort e,  implying  specifically  ab- 
sence of  design  or  thought. 

759.  ut  uolebam :  referring  in  a  general  way  to  his  satisfaction 
with  all  the  circumstances  of  the  present  arrangement. 

760.  ambo  implies  concerted  action  on  the  part  of  the  two 
brothers,  with  a  common  purpose ;   uterque  would  imply  inde- 
pendent action. 

opere  maxumo :  magno  opere  was  commonly  felt  as  a  mere 
adverb  and  was  often  written  magnopere.  Occasionally,  and  es- 
pecially in  early  Latin,  the  two  parts  were  felt  as  sufficiently  dis- 
tinct to  admit  of  a  comparison  of  the  magno. 

fieret  is  commonly  fleret  at  the  end  of  an  iambic  verse  ;  cf .  593, 
and  see  Introd.,  p.  xxxix,  note  2. 

761.  hie  solus:  i.e.  Antipho. 

762.  opus  facto  :  see  note  on  584. 

763.  oppido  :  cf.  317. 

765.  scibit:  see  Introd.,  p.  xlv,  2. 

ACT  V,   SCENE   1   [2]. 

766.  nostrapte :  this  -pte  is  common  only  with  the  abl.  sing,  of 
possessive  pronouns.     It  emphasizes  the  possessive  idea,  nostrapte 
meaning  our  own.     Cf.  Heaut.  388,  expedit  bonas  esse  uobis. 


NOTES.  133 

767.  bonos,  instead  of  boni,  shows  that  nos  is  probably  the 
ace.  case. 

768.  ita  fugias  ne  praeter  casam :  (in  running  away}  so  run 
that,  in  addition  to  your  hut  (you  do  not  lose  your  head);  probably 
a  proverbial  expression,  from  which  the  rest  of  the  ne-clause  (caput 
quoque  amittas,  or  the  like,  is  omitted.     Proverbs  are  often  quoted 
in  an  incomplete  form,  e.g.  Cic.  de  orat.  II,  64,  258  agas  asellum; 
de  finibus  III,  4,  16  fortuna  fortis  ;  Arist.  Vesp.  1422,  £5pot  TIS  (to 
be  filled  out  with  ^v  ?KCI<TTOS  eldflr)  T^VIJV);  cf.  also  " sapienti  saf," 
"  birds  of  a  feather,"  "  a  word  to  the  wise."     See  App. 

770.  qui:  see  note  on  130. 

qui  uiuat :  a  "  potential  characterizing  "  clause,  though  the  voli- 
tive  feeling  of  sit  colors  the  subordinate  clause.  See  note  on  488. 

771.  qui  recta  praua  faciunt :  the  things  of  which  Phormio 
had  been  guilty  were  really  praua,  but  they  had  been  made  to 
appear  recta. 

772.  illi  :  for  illic  =  in  ilia  re.    See  note  on  91. 

ut  stultissime  quidem  illi  rem  gesserimus :  that  we  have 
acted  like  consummate  fools  !  A  clause  exclamatory  in  feeling,  but 
conceived  of  as  also  expressing  the  result  (hence  ut)  of  circum- 
stances. 

gesserimus  :  the  i  of  the  perf .  subj.  was  originally  long,  and  this 
quantity  is  sometimes  retained  in  the  2d  pers.  sing,  and  in  the  1st 
and  2d  pers.  plur. 

773.  modo  ut :  introducing  a  wish. 

hoc  consilio :  abl.  of  means,  the  following  wj-clause  being  one 
of  result. 

possiet  discedi :  impersonal,  we  can  accomplish  the  desired  end, 
lit.  it  can  be  come  off  (by  us).  For  this  use  of  discedere,  cf.  the 
English  phrase,  "to  come  off  victorious";  1047,  pulchre  discedo. 
For  the  form  possiet,  see  Introd.,  p.  xxxix,  note  2. 

774.  baud  scio  ...  an:  this  phrase  originally  meant,  as  here, 
I  do  not  know  whether  (or  not),  etc.;  but  in  classical  times  it  had 
come  to  mean,  /  am  inclined  to  think  that. 

775.  mutet :  merely  re-echoing  the  mutet  of  Geta.     See  note  on 
122. 

autem  :  see  note  on  503. 

776.  ita  faciam  ...  ut  ...  adducam  :  /  will  so  do  as  to  bring, 


134  PHORMIO. 

etc.,  a  circumlocution  equivalent  merely  to  adducam,  the  ut .  . . 
censuit  being  parenthetical. 

777.  prae  :  prepositions  were  originally  adverbs  ;  these  later  be- 
came  specialized  in  use  and  associated  with  particular  cases.  The 
early  stage  is  represented  in  Greek  by  Homer,  in  whose  verse  the 
particles  that  were  later  prepositions  are  still  drifting  freely  about. 
In  Latin,  reminiscences  of  this  early  use  are  rare  except  in  the 
adverbial  use  of  ante  and  post,  and  a  few  other  words ;  prae  is 
occasionally  an  adverb  as  here ;  also  pro  in  pro  ut,  according  as, 
and  sub  and  de  in  su(b}sque  deque,  both  up  and  down. 

779.  praesentia  :  agreeing  with  tempora  understood. 

780.  uorsuram  solues  :  uorsura  means  a  turnabout,  with  refer- 
ence to  a  debt,  a  borrowing  of  money  to  pay  a  debt.    The  expression 
uorsuram  soluere  seems  to  be  a  fusing  together  of  uorsuram  facere 
and  uorsura  soluere.     Geta  means  that,  in  procuring  the  money 
for  Phaedria,  he  has  led  the  old  man  to  believe  that  they  need  give 
themselves  no  further  anxiety  about  Phanium.     This  trouble  is  for 
the  present  settled,  but  only  at  the  expense  of  still  more  serious 
complications  later  on,  when  the  true  state  of  things  becomes 
known.     Cf.  the  next  line,  praesens  quod  fuerat  malum,  in  diem 
abiit. 

781.  praesens :  for  the  position  of  this  word,  see  note  on  200. 
in  diem :  for  the  time  being.    The  force  of  the  preposition  in 

such  phrases  seems  to  be  with  reference  to,  directing  one's  view 
toward,  which  is  closely  akin  to  the  idea  of  motion  implied  by  in 
with  the  ace.  Cf.  Eun.  1020 ;  Cic.  de  or.  2,  40, 169,  in  diem  uiuere, 
to  live  with  reference  (only)  to  the  time  being. 

783.  eius:  i.e.  Nausistrata  (cf.  776  f.),    A  slight  gesture  would 
prevent  all  ambiguity.     See  App. 

ACT  V,   SCENE  2  [3]. 

784.  ut  soles :  in  your  happy  way.     Demipho  realizes  that  she 
is  a  woman  who  must  be  gently  handled,  but  he  is  equal  to  the 
occasion  ;  cf .  Scene  9. 

786.  Notice  the  contrast  obtained  by  chiasmus,  nunc  opere  —  re 
dudum.    For  the  allusion  in  re,  see  681. 

787.  factum  uolo :  it  is  just  as  I  would  have  it,  i.e.  you  are 


NOTES.  135 

quite  welcome,  lit.  I  wish  it  done,  a  polite  formula  of  approval. 
Cf.  Plaut.  Bacch.  495. 

788.  bene  parta :   hard-earned  acquisitions.    For  similar  uses 
of  the  participles,  cf.  benefacta,  male  facta,  bene  dictum  (20). 

789.  bina  :  two  each  year,  hence  bina  instead  of  duo. 

790.  statim  (from  stare,  to  stand) :  regularly,  as  a  standing  thing. 
With  another  application  of  its  root-idea,  statim  means  while  still 
standing,  without  changing  position,  hence  immediately.     Cf.  "on 
the  spot." 

791.  rebus  uilioribus:  in  Latin  comedy,  the  temporal  element 
is  nearly  always  prominent  in  the  abl.  abs.     It  never  gets  further 
away  from  that  idea  than  in  the  present  instance. 

hui  :  a  whistle  of  pretended  surprise. 

792.  quid  haec  uidentur :  how  does  that  strike  you? 
scilicet :  /  should  say  so  !  in  answer  to  Nausistrata's  question, 

which  really  meant  isn't  the  contrast  striking? 

793.  parce :  sc.  tibi,  or  uoci. 

794.  ut  possis  cum  ilia :  an  ellipsis  is  to  be  felt  of  some  infin., 
meaning  to  deal  with,  cope  with,  or  the  like.     Demipho  expected 
there  would  be  a  scene,  possibly  a  storm  (cf.  ne  suscenseat  in  720), 
when  Nausistrata  broke  the  news  to  Phanium. 

795.  abs  te :  see  note  on  732. 

ACT  V,  SCENE  3  [4]. 

796.  nollem  datum  =  uellem  non  datum  (esse). 

797.  paene  plus  :  sc.  dixi,  or  a  similar  word. 

798.  iam  recte :  ifs  all  right;  cf.   the  German  phrase  schon 
recht.     Chremes,   having  by  this  time  noticed  his  wife,   hardly 
knows  at  first  what  he  is  saying.    As  he  has  to  say  something, 
iam  recte  serves  as  well  as  anything.    Demipho,  true  to  his  nature, 
p~<>mptly  gets  impatient  at  his  brother's  strange  conduct. 

4uid  tu :  the  emphatic  tu  makes  the  expression  very  different  in 
tone  from  a  mere  quid,  or  quid  ais,  to  which  it  has  sometimes  been 
said  to  be  equivalent.  It  practically  amounts  to,  what  is  the  matter 
with  YOU  ?  With  tu,  probably  no  particular  verb  was  felt  to  be 
omitted  ;  it  merely  stands  in  a  general  way  as  the  subject  of  action. 

800.    nostra :  sc.  refert.    Cf.  723. 


136  PHORMIO, 

magni :  sc.  refert.    Cf .  723. 

praeterhac :  a  form  common  in  Plautus,  but  occurring  in  Ter- 
ence only  here,  and  possibly  Ad.  847.  Praeterhac  differs  from 
praeterea  in  meaning,  as  haec  differs  from  ea.  See  note  on  347. 

801.  sic  erit  gives  assurance  of  future  confirmation.    Cf.  Heaut. 
1014  ;  Ad.  182,  etc. 

802.  satin  =  satisne. 

803.  au :  see  note  on  754. 

805.  Chremes  has  been  making  signs  to  Demipho  throughout  the 
scene,  and  now  begins  to  get  desperate  at  his  failure  to  make  him 
understand. 

806.  nil :  i.e.  nonsense. 

quid  siet :  what,  it's  all  about. 

perdis :  cf .  856,  where  enicas  is  similarly  used. 

807.  equidem  hercle  nescio  :  IUI  be  hanged  if  I  know! 
ita  .  .  .  ut :  as  truly  as. 

at :  often  used,  as  here,  in  introducing  imprecations  and  occa- 
sionally also  in  friendly  prayers.  See  Harper's  Diet.  B,  3,  c  and  d. 
The  at  denotes  a  sort  of  opposition  to  the  general  situation. 

808.  uostram  fidem :  see  note  on  757. 

809.  ipsam  :  contrasted  with  Chremes. 

aut  scire  aut  nescire:  i.e.  to  know  the  truth  or  falsity  of. 
ah :  an    exclamation  caused  by  Demipho's  una  omnis,  which 
would  include  Nausistrata. 

810.  apud:  with  personal  object,  commonly  calls  attention  to 
the  characteristics  or  the  vocation  of   its  object.    If  you  are  a 
banker,  apud  te  means  at  your  bank ;  if  a  merchant,  at  your  store ; 
if  an  author,  in  your  works;  if  merely  thought  of  as  a  private 
individual,  at  your  house,  in  your  make-up  as  a  man,  i.e.  in  your 
heart,  in  your  eyes,  or  the  like. 

811.  uin  satis  quaesitum  mi  istuc  esse:  do  you  wish  me  to 
have  done  with  my  questions?  lit.  do  you  wish  that  matter  to  have 
been  inquired  about  enough  by  me? 

ilia  tilia :  see  note  on  137. 

812.  amici  nostri  :  said  with  a  significant  look,  as  a  safe  way 
of  referring,  in  the  presence  of  Nausistrata,  to  the  daughter  of 
Chremes  himself. 

mittimus ;  see  note  on  447. 


NOTES.  137 

hanc :  i.e.  Nausistrata,  not  Phanium.  Cf.  813,  ire  igitur  tibi 
licet,  Nausistrata. 

813.  quid  ni :  see  note  on  64. 

ilia :  while  in  reality  referring  to  the  same  person  as  ilia  filia 
above  (811),  viz.  to  Phanium,  is  not  so  understood  by  Demipho. 
By  ilia  jilia,  he  means  the  daughter  of  Chremes  ;  by  ilia  maneat, 
Antipho's  present  wife,  whom  he  supposes  to  be  another  person. 

814.  sic  :  anticipating  manere  hanc,  815. 

815.  perliberalis  :  very  lady-like.     See  note  on  623. 

817.  respiciunt  originally  meant  look  back  at;  then,  as  this 
act  would  imply  interest  in  the  thing  looked  at,  it  developed  the 
meaning  take  interest  in,  care  for.     Cf .  the  English  derivative  from 
it,  "respect." 

818.  potuit :  cf.  note  on  303.     See  App. 

819.  heus :  mind  you  I 

ACT  V,   SCENE  4. 

820.  ut :   however.     Sloman's   interpretation,  considering  that, 
would  require  an  adverb  with  sese  habent. 

fratri:  used  here  for  fratri  patrueli,  cousin,  as  in  Cic.  Clu.  24, 
60  ;  ad  Att.  1,  5,  1 ;  Cat.  66,  22. 

821.  scitum :  from  scisco. 

822.  quas  :  perhaps  the  only  instance  (excepting  one  or  two  in 
late  Latin)  of  the  ace.  with  medeor;  medicor,  however,  occurs  with 
the  ace.  in  Verg.  Aen.  7,  756. 

quom  .  .  .  sient :  a  general  condition  in  which  we  should  expect 
the  indicative,  were  it  not  colored  by  the  verbs  (mederi  possis)  of 
the  clause  in  which  it  stands. 

paulo :  with  little,  i.e.  easily.  Paulum  is  common  as  a  substan- 
tive hi  early  Latin  ;  e.g.  Plaut.  Cure.  125,  de paulo;  Ter.  Ad.  949  ; 
And.  903  ;  Heaut.  498,  etc. 

quas  possis :  a  predicating  characterizing  clause  (see  note  on 
488)  ;  the  potential  idea  that  is  felt  lies  in  the  meaning  of  the  verb 
itself,  not  in  the  mood. 

825.  si  ...  celetur:  referring  "  less  vividly  "  to  the  future  as 
a  more  remote  possibility. 

sin  patefit :  the  change  of  mood  seems  to  indicate  a  greater 


138  PHORMIO. 

probability  of  the  actual  coming-to-pass  of  this  condition.  The 
present  tense,  treating  the  act  as  one  that  is  possibly  already  in 
progress,  is  perhaps  due  to  the  same  feeling. 

When  facio  is  compounded  with  prepositions,  it  forms  its  pas- 
sive regularly,  e.g.  inficior  ;  when  compounded  with  other  parts  of 
speech,  it  follows  its  own  conjugation,  e.g.patefio,  commonefio,  etc. 

827.  ubi  .  .  .possim:  where  could  I  (if  I  should  try},  possim 
being  really  the  conclusion  of  a  "less  vivid  future"  ("ideal") 
condition.  One  should  be  careful  not  to  confuse  this  subjunctive 
with  such  deliberative  subjunctives  as  that  in  quid  agam,  what 
shall  I  do?  which  expects  some  expression  of  the  will  in  reply.  It 
would  be  possible  to  extend  the  term  "deliberative"  to  cover  such 
questions  as  this,  but,  if  that  were  done,  we  should  have  to  make 
several  distinct  classes  of  deliberative  questions,  e.g.  (1)  those  in- 
volving the  will,  e.g.  quid  agam,  what  shall  I  do?  (2)  those  with 
the  "potential"  (sometimes  so-called)  subjunctive,  never  in  any 
way  connected  with  the  will,  e.g.  quid  sit  optimum,  what  would  be 
best?  (3)  such  uses  of  the  indicative  as  in  quid  est  optimum,  what  is 
best?  quid  erit  optimum,  what  will  be  best?  etc. 

ACT  V,   SCENE  5. 

830.  Phaedria  :  for  the  quantity  of  the  final  a,  see  note  on 
Geta,  179. 

propria  :  as  his  own.  For  the  construction  and  the  form  of  po- 
teretur,  see  note  on  469. 

emissast  manu :  i.e.  released  from  the  manus,  or  power  of  her 
master.  This  giving  up  of  all  claim  to  a  slave  was  symbolized  by 
a  ceremony  in  which  the  master  first  took  hold  of  the  slave,  as  still 
his  own,  turned  him  about,  and  then  released  him  from  his  grasp, 
a  free  man. 

832.  aliquod :  see  note  on  159. 

sumam  :  take,  appropriate.     Cf.  Ad.  287,  854. 

833.  quid  ais  ?  an  expression  used  merely  to  attract  attention, 
like  "  Say  !  "  "0  say  ! "  "I  say  !  " 

834.  satietatem  amoris  .  .  .  absumere :  take  his  fill  of  love. 

835.  partis  tuas  acturus  est  reminds  one  of  Demipho's  former 
words  (267),  tradunt  operas  mutuas. 


NOTES.  139 

837.  Sunium :  a  town  on  the  southern  coast  of  Attica,  near  the 
promontory  of  the  same  name.    It  was  evidently  famous  as  a  slave 
market. 

ire :  see  note  on  dare  in  532. 

838.  dudum  :  viz.  in  665. 

840.  ostium  concrepuit :    the  doors  of  Greek  houses  often 
opened  outward.     They  were  frequently  (regularly,  in  the  case  of 
families  who  could  not  afford  to  keep  an  ostiarius  to  tend  the  door) 
kept  bolted  on  the  inside  (cf.  Heaut.  275  ff.;  Ad.  634).     The  expres- 
sion ostium  concrepuit  seems  to  refer  to  the  noise  attendant  upon 
drawing  the  bolt  and  starting  the  door,  all  of  which  would  indicate 
that  some  one  was  about  to  come  out.     It  is  commonly  explained, 
chiefly  on  the  authority  of  Plutarch  (Poplic.  20),  as  referring  to  a 
knock  by  which  a  person  about  to  come  out  is  supposed  to  have 
warned  passers-by  against  the  danger  of  being  hit  by  the  door. 
But  such  extreme  precaution  would  in  any  case  seem  absurd  and 
unnecessary,  especially  so  when  we  know  that  other  noises  accom- 
panied the  opening  of  a  locked  door,  in  ancient,  as  well  as  in 
modern,  times.     Another  serious  objection  is  the  fact  that  concre- 
pare  refers  to  a  rattling,  creaking,  or  grating  sound,  not  at  all 
to  anything  like  a  knock,  which  is  indicated  by  pulsare,  pultare, 
pellere,  —  words  never  used  of  persons  about  to  come  out  of  a 
house.    Plutarch's  remarks  are  professedly  based  upon  expressions 
of  this  sort  found  in  the  comic  poets,  and  are  probably  due  to  a 
misunderstanding. 

The  tense  of  concrepuit  is  to  be  explained  as  referring  to  the 
instant  before,  just  as  we  upon  hearing  a  knock  may  say,  "some 
one  knocked,"  as  well  as  "some  one  is  knocking." 

ACT  V,   SCENE  6. 

841.  Fortuna    and    Fora    Fortuna :    the    words    uostra  and 
onerastis  in  the  next  verse  show  that  the  conception  here  is  of  two 
distinct  deities. 

843.  quid  sibi  uolt :  what  does  he  mean  ? 

844.  mihi:   A.  &  G.  236;   B.    188,  2  b;  G.  351;  H.  389.     Cf. 
Plaut.  Epid.  344,  mihi  cesso,  quom  sto. 

umerum  huiic  onero  pallio :  the  pallium  (after  which  the  fabu- 


140  PHOKMIO. 

lae  palliatae  took  their  name)  was  worn  out  of  doors,  even  by 
slaves.  When  there  was  need  of  haste,  the  lower  folds  of  the 
garment  were  drawn  up  (and  here  thrown  over  the  shoulder) ,  so 
as  not  to  impede  one's  progress. 

845.    adque :  i.e.  atque ;  see  Introd.,  p.  xliv. 

quae  .  .  ,  contigerint:  the  subjunctive  is  probably  due  to  the 
influence  of  sciat ;  but  it  would  be  possible  in  such  familiar  speech 
to  regard  the  quae  as  interrogative  instead  of  relative,  that  he  may 
know  of  all  this,  viz.  what  has  happened. 

847.  em  tibi :  see  that,  will  you?    For  tibi,  see  on  mihi  above, 
844. 

848.  reuocari,   cursum   quoni  institeris :    probably  alluding 
to  some  practical  joke  that  was  wont  to  be  practised  on  slaves, 
similar  to  that  practised  by  boys  nowadays  in  calling  to  a  person 
on  the  street,  and  then  asking  him  how  far  he  would  have  been  if 
he  had  not  stopped. 

institeris :  subj.  of  indefinite  2d  person. 

849.  pergit  hercle :  he  is  deucedly  persistent. 

tu :  emphatic  and  contemptuous,  a  nuisance  like  you. 
odio  tuo  :  your  odious  conduct.     Cf.  Hor.  Sat.  1,  7,  6,  odio  qui 
posset  uincere  regem. 

850.  uapula  :  you  be  hanged!  lit.  be  flogged! 
uerbero :  see  note  on  684. 

851.  familiariorem :  pretty  intimately  connected  with  me. 

852.  ipsust:  see  note  on  178. 

853.  O  is  here  elided,  thus  forming  an  exception  to  the  rule. 
See  note  on  au,  754. 

quantum  est :  an  expression  of  quantity,  where  we  should  ex- 
pect an  expression  of  number.  It  would  seem  still  more  natural  to 
omit  the  phrase  altogether. 

854.  solus  :  i.e.  to  a  very  exceptional  degree. 
diligere :  not  an  infinitive. 

856.   delibutum  .  .  .  reddo :  see  note  on  559. 

delibutum  gaudio  :  steeped  in  joy,  lit.  besmeared  with  joy. 

enicas :  see  note  on  806. 

858.  aderas:  in  English  one  would  be  likely  to  use  the  perf., 
have  you  been  here  all  the  time?  but  the  imperfect  is  quite  intelli- 
gible, referring  to  the  immediate  past. 


NOTES.  141 

859.  apud  forum :  Terence  never  says  in  foro.  though  that 
phrase  is  common  in  Plautus.  See  And.  254,  302,  745;  Ad.  154, 
404,  572. 

861.  omitto  proloqui :  it  is  merely  for  the  sake  of  convenience 
In  explaining  what  happened,  that  Terence  represents  Geta  as  sent 
to  Phanium.    That  occurrence  is  accordingly  briefly  dismissed. 

862.  gunaeceum:    there  were  two  distinct  parts  to  a  Greek 
house,  —  the  andronitis,  or  men's  apartments,  and  the  gynaeconitis, 
or  women's  apartments,  also  called  the  gynaeceum.     The  Greek 
women  were  kept  in  close  seclusion  in  the  back  part  of  the  house. 

866.  Notice  the  readiness  with  which  the  Latin  at  all  times  falls 
into  indirect  discourse. 

867.  suspense  gradu :  translate  by  the  corresponding  English 
idiom. 

ire  perrexi :  practically  equivalent  to  ibam,  the  idea  of  progres- 
sive action  being  expressed  by  a  separate  word,  instead  of  being 
left  to  the  less  definite  imperfect  tense.  This,  too,  makes  it  possible 
to  leave  the  series  of  perfects  unbroken,  and  thus  heighten  the 
rhetorical  effect. 

astiti :  not  from  asto. 

868.  animum  commonly  refers  to  the  thinking,  feeling  part  of 
a  man,  mind,  soul ;  animani,  merely  to  that  which  he  shares  with 
all  living  things,  the  life  principle,  or,  as  in  this  line,  the  breath. 

animum  .  .  .  attendere :  to  listen,  lit.  to  stretch  the  mind  toward. 

869.  hoc  modo :  like  this.     He  puts  his  hand  to  his  ear  and 
leans  forward,  to  show  how  it  was  done.    This  interpretation  of 
hoc  modo  is  more  in  harmony  with  the  liveliness  of  the  narration 
than  to  take  it  as  referring  tamely  to  what  he  has  previously  said. 

modo :  not  to  be  confused  with  modo. 

869.  captans :  the  frequentative  calls  attention  to  the  eagerness 
with  which  the  act  was  performed. 

870.  paene  is,  with  verbs,  commonly  used  only  with  a  perfect 
tense ;  it  is  not  found  with  the  imperfect,  because  in  its  very.  * 
nature  it  has  reference  to  failure  of  accomplishment,  rather  than 

of  progress.    It  is  rarely  found  with  the  subjunctive. 

871.  mirincissumum :  for  the  more  common  classical  form. 

872.  uxori:   the  dat.  of  reference  where  one  might  expect  a 
gen.    Cf.  "  servant  to  the  queen."     Such  a  dat.  is  common  in  the 


142  PHOBMIO. 

predicate  with  est,  but  instances  like  uxori,  where  the  dat.  de- 
pends  upon  the  substantive,  are  rare.  Cf.  Plaut.  Mil.  1431,  PY. 
Quis  erat  igitur?  Sc.  Philocomasio  amator.  The  dat.  differs 
from  the  gen.  in  such  cases,  in  calling  attention  to  the  idea  of 
interest  involved. 

873.  in  Lemno  :  see  note  on  66. 

874.  utin  .  .  .  ignoraret :  see  note  on  304. 

credito :  the  present  imperative  would  be  expected.  A.  &  G. 
269,  d  ;  B.  281,  1  ;  G.  268  ;  H.  487. 

876.  ipsi  emphasizes  the  idea  of  secrecy. 

877.  inaudiui :  have  had  an  inkling  of.     This  word  perhaps 
belongs  to  an  obsolete,  inchoative  form  (inaudisco') ,  which  meant  to 
begin  to  hear,  though  indaudiat  is  found  in  a  fragment  of  Afranius. 

Antipho  had  of  course  heard  something  from  Sophrona  and  from 
Phanium  herself  about  the  latter's  origin.  Cf.  also  389,  where  the 
name  assumed  by  Chremes  in  Lemnos,  viz.  Stilpo,  is  shown  to  have 
been  mentioned  in  court. 

880.   adhibendae  -,  for  a  similar  use  of  habendae,  cf.  827. 

fecero  :  see  notes  on  308  and  516  (conduplicauerit} . 

883.  ita  me  di  ament :  for  this  use  of  t'ta,  cf.  "so"  in  the  for- 
mula, "so  help  me  God  !  "     Cf.  165,  954. 

bene  factum :  gone  well. 

ACT  V,    SCENE  7. 

884.  tantam  fortunam  .  .  .  ease  datam :  for  the  force  of  the 
infinitive,  see  note  on  153.    This  passage  forms  an  exception  to 
the  rule,  since  the  inf.  of  exclamation  is  commonly  used  only  of 
thoughts  of  an  unpleasant  character.     But  see  App. 

886.  adimere  :  notice  the  change  of  construction.  The  gerund 
would  be  more  regular,  but  occasio  sometimes  takes  the  inf.  in 
early  Latin,  e.g.  Plaut.  Capt.  422  ;  Cure.  59  ;  Pers.  722,  etc. 

889.  datum  erit :  it  will  stay  given,  erit  alone  being  the  verb. 
re  ipsa  :  i.e.  the  turn  things  have  taken. 

890.  For  the  bearing  of  this  verse  upon  the  question  as  to 
whether  masks  were  worn  by  actors  in  the  time  of  Terence,  see 
note  on  210. 

893.   non  eo :  see  notes  on  388  and  446. 


NOTES.  143 


ACT  V,    SCENE  8. 

894.  gratias :  the  regular  phrases  are  gratiam  habere,  to  feel 
grateful,  lit.  to  have  gratitude  (in  one's  heart),  and  gratias  agere, 
to  express  gratitude,  lit.  drive  it  (ont).  The  plural  is  here  used 
because  it  has  to  serve  as  the  object  of  ago  as  well  as  habeo. 

896.  On  the  position  of  this  verse,  see  App. 

897.  quantum  potest :  see  note  on  674. 

900.  at  sometimes  introduces  an  expression  of  surprise,  surprise 
involving  an  adversative  relation  —  opposition  to  what  was  ex- 
pected. 

nos  ad  te:  note  the  contrast  produced  by  the  juxtaposition 
(see  note  on  520)  of  pronouns.  We  were  going  to  you,  and  here 
you  have  come  to  us. 

902.  uerebamini,  etc.  :  see  App. 

904.    heus  :  mind  you  !  see  here  I 

906.  id  adeo :  precisely  this.  For  the  use  of  adeo,  see  note  on 
389. 

909.  tanto  opere  :  tantopere. 

910.  dehortatus :  trisyllabic.     See  Introd.,  p.  xlii. 

913.  earn  mine  :  see  App. 

914.  quae  .  .  .  coram  me  incusaueras :  which  you  had  com- 
plained of  in  my  presence  (viz.  in  413  ff.),  coram  probably  being 
a  preposition  instead  of  an  adverb,  as  it  is  commonly  taken. 

915.  inluditis :  play  against,  poke  fun  at,  originally  construed 
with  the  dat.;  but  it  early  came  to  be  used  with  the  ace.,  in  the 
general  sense  of  ridicule. 

917.  quo  redibo  ore:  the  fut.  indie,  should  probably  be  dis- 
tinguished here  from  the  present  subjunctive.  Quo  redeam  ore 
would  imply  deliberation  as  to  what  expression  of  countenance  it 
would  be  best  to  wear :  i.e.  shall  I  go  back  looking  penitent,  arrogant, 
or  how  ?  Quo  redibo  ore  on  the  other  hand  is  a  purely  rhetorical 
question  ;  the  real  meaning  is,  how  shame-faced  I  shall  look,  to  go 
back  under  such  circumstances!  The  indicative,  however,  is  fre- 
quently used  in  Plautus  and  Terence  in  questions  of  deliberation. 

quam  contempserim :  a  causal-adversative  clause  ;  causal,  if  un- 
derstood as  giving  the  reason  for  asking  the  question  ;  adversative 


144  PHORMIO. 

in  its  relation  to  the  act  of  redibo  itself.  It  is  often  impossible  to 
determine  which  of  the  two  ideas  is  uppermost  in  such  clauses. 

918.  ad  forum:  i.e.  where  the  bankers  and  money-changers 
were  located. 

922.  rursum  rescribi :  to  be  re-transferred.  When  Demipho 
appeared  with  the  money  for  Phormio,  he  avowed  (714  ff.)  that  he 
would  never  pay  over  the  money  without  having  witnesses  of  the 
whole  transaction.  It  seems,  accordingly,  that  he  first  deposited 
the  money  with  his  banker,  and  then  had  him  transfer  the  credit 
to  the  account  of  Phormio.  He  now  wants  Phormio  to  order  it 
re-transferred. 

925.  sin  est  ut  uelis  :  a  circumlocution  for  sin  uis,  calling  at- 
tention more  particularly  to  the  state  of  things  involved  in  the  wish, 
rather  than  to  the  wish  itself.  Cf.  "if  you  wish"  and  "if  it  is 
true  that  you  wish." 

928.  quom  ...  remiserim:  a  causal-adversative  clause.    Causal, 
if  understood  as  giving  the  reason  for  the  whole  assertion  ;  adversa- 
tive, in  its  relation  to  decipi.     See  notes  on  23,  208,  and  917  (end). 

uostri  honoris  causa :  Demipho  and  Chremes  would  feel  dis- 
graced at  having  a  poor  daughter-in-law  in  the  family. 

alterae  :  archaic  for  alteri. 

repudium  .  .  .  remittere :  to  break  a  marriage  engagement, 
lit.  to  send  back,  let  loose,  a  separation. 

929.  dabat :  the  imperf.  is  used  because  the  dowry  had  been 
agreed  upon,  but  not  yet  paid.    All  the  arrangements  relative  to 
the  marriage  are  conceived  of  as  being  in  progress  in  the  past. 

in  =  isne  (from  eo).  Cf.  audin,  uiden,  etc.,  for  audisne,  uidesne, 
etc.  For  this  use  of  the  pres.  ind.,  see  note  on  388. 

930.  istac  magniticentia  :  that  ridiculous  bombast  of  yours. 

931.  fugitiue:  here  merely  a  term  of  abuse.     Cf.  the  English 
word  "scamp,"  which  originally  meant  "  one  who  scampers.''1 

932.  adeo :  to  such  an  extent,  viz.  as  is  implied  in  the  air  you 
assume.     See  note  on  389. 

irritor:  be  careful  not  to  understand  this  as  though  it  were 
irritatus  sum. 

933.  ut  filius  .  .  .  habitet :   in  apposition  with  the  following 
hoc:  that  my  son  may  live  with  her  at  your  house,  that  has  been 
(and  still  is)  your  plan. 


NOTES.  145 

935.  quin  .  .  .  cedo  :  see  notes  on  223  and  197. 

936.  immo  uero :  in   this   combination  with  wero,  both  sylla- 
bles of  immo  seem  to  be  regularly  short  at  the  beginning  of  iambic 
verses.     Cf.  Hec.  726  ;  also  immo  quod  in  Hec.  437. 

in  ius  ambula :  any  one  who  had  a  grievance  against  another 
could  thus  summon  him  into  court.  If  the  latter  would  not  go 
peaceably,  the  plaintiff  had  a  right  to  carry  him  there  by  force. 

938-940.  indotatis  and  dotatis :  for  the  substantive  use  of  fern, 
adjectives,  see  note  on  298. 

dotatis :  a  hint  to  Chremes  that  it  may  be  for  his  interest  to 
drop  further  proceedings.  Phormio  knows  the  perfidy  of  Chremes 
and  threatens  by  this  hint  to  reveal  it  to  his  wife  ;  but  Chremes  is 
so  confident  that  his  secret  has  been  well  kept,  that,  as  shown  by 
quid  id  nostra,  Phormio's  insinuation  does  not  disturb  him. 

quid  id  nostra :  see  note  on  800. 

nihil:  dissyllabic. 

942.  nullus  sum  :  see  179. 

943.  educat :  Terence  commonly  uses  educere  in  this  sense. 

sepultus  sum :  nullus  sum  above  (942)  implied  I'm  dead.  Phor- 
mio turns  the  screw  again,  and  draws  from  Chremes  this  still  more 
despairing  groan,  (yes)  and  buried  too. 

944.  adeo :  see  notes  on  389  and  906. 

illi :  a  still  more  pointed  allusion  than  that  previously  made  in 
dotatis,  and  this  time  Chremes  understands.  Phormio  has  said 
enough  to  open  his  eyes. 

denarrabo :  i.e.  from  beginning  to  end,  the  de  being  intensive. 

945.  eras  and  es  may  be  used  indifferently  in  such  cases,  accord- 
ing to  the  conception.     Cf.  858,  tu  quoque  aderas? 

ludos  facit :  cf .  the  expression  make  game  of  any  one. 

946.  missum  te  facimus :  cf.  inuentas  reddam  in  558. 
quid  uis  tibi :  see  843. 

947.  argentum  .  .   .  condonamus  te  represents  a  fusing  to- 
gether of  two  constructions.     Donare  takes  either  aliquid  alicui,  to 
give  something  to  some  one,  or  aliquem  aliqua  re,  to  present  some 
one  with  something.     The  feeling  accordingly  grew  up,  that  the 
ace.  of  the  person  and  the  ace.  of  the  thing  were  both  allowable 
with  such  verbs,  and  to  this  feeling  is  due  such  a  use  as  found  in 
the  present  sentence.     Cf.  similar  instances  in  Eun.  17  ;  Hec.  849, 


146  PHORMIO. 

etc.     This  double  ace.  with  verbs  of  giving  is  not  found  in  the 
classical  period. 

948.  malum  :  see  note  on  723. 

949.  sententia :  see  App. 

950.  Notice  how  the  metrical  accent,  without  regard  to  the  word- 
accent,  shifts  from  one  syllable  to  another  in  a  repetition  of  the 
same  words. 

951.  ratum :  thought  out  (reor),  then  (as  here)  settled. 

952.  hie  haec :  when  different  cases  ot  the  same  pronoun  are 
used,  the  nom.  regularly  precedes  any  other  case,  and  the  ace. 
precedes  any  other  than  the  nom. 

953.  nisi  :  see  note  on  475. 

954.  ita  me  di  ament :  bless  me  !    For  this  use  of  ita,  see  note 
on  165. 

inieci  scrupulum  :  an  expression  borrowed  perhaps  from  the 
inconvenience  caused  by  a  pebble  in  one's  shoe.  From  this,  scru- 
pulus  came  to  be  used  of  anything  that  causes  uneasiness,  e.g. 
anxiety,  doubt,  scruple,  etc. 

955.  hicine  ut :  see  note  on  304. 

The  second  i  in  hicine  is  merely  the  e  of  ce  (ftt'ce),  weakened. 

956.  emori:  the  e  being  intensive  =  outright,  though  its  force 
is  often  imperceptible. 

satius :  satis  means  enough,  sufficient ;  then,  satisfactory ;  then, 
hi  a  more  general  sense,  according  to  one's  wishes,  desirable,  or,  in 
the  comparative,  more  desirable,  better. 

957.  praesenti:  present,  ever  ready  to  act,  resolute.    Cf.  Eun. 
769. 

959.  id  celare  .  .  .  uxorem.  A.  &  G.  239  d  ;  B.  178  e ;  G.  339  ; 
H.  374,2. 

963.  For  the  hiatus  after  ulcisci,  see  146  and  note. 
attat :  see  600. 

haereo  :  Pm  in  for  it.  Cf.  the  more  complete  expression  in  780, 
in  Into  haesitas. 

Notice  the  loose  use  of  tenses  in  this  line,  unusual  in  Latin,  but 
common  in  English.  Here  the  present  is  more  vivid  and  forcible 
—  the  emergency  is  referred  to  as  already  upon  him. 

964.  gladiatoiio  animo  :  such  purely  Roman  allusions  are  very 
rare  iu  Terence,  though  common  in  Plautus. 


NOTES.  147 

966-967.  hoc  tretua  .  .  .  quoin  .  .  .  excessit :  quom  is  here 
equivalent  to  an  explicative  quod,  the  fact  that,  or  in  that.  This 
use  was  entirely  distinct  in  both  origin  and  development,  from  the 
temporal  or  causal  quom  (cum),  and  was  always  used  with  the 
indicative.  It  is  very  common  in  early  Latin  and  is  not  infrequent 
even  in  classical  times,  especially  after  such  expressions  as  gratulor, 
gratias  ago,  etc.  The  passage  eo  .  .  .  cum  .  .  .  consecutus  est  in 
Cic.  de  sen.  19,  68  has  been  corrupted  by  some  editors,  owing  to  a 
failure  to  recognize  this  use.  See  App. 

967.    unde  =  a  qua. 

969.  ex  re  :  see  note  on  449. 
istius :  dissyllabic. 

970.  ain  tu :  merely  a  formula  expressive  of  indignation,  won- 
der, or  the  like.    The  tu  is  commonly  added  only  when  strongly 
marked  contrast  with  others  is  intended.     Here  Phormio  has  just 
addressed  Demipho.     He  now  turns  to  Chremes  with  and  what 
do  you  mean? 

lubitum  fuerit  —  lubitum  sit.  See  note  on  516.  This  subjunc- 
tive takes  its  modal  coloring  from  feceris,  which  in  turn  expresses 
an  adversative  relation  to  the  main  clause. 

971.  feminae:  uereor  occasionally  in  early  Latin,  and  once  in 
Cicero's  Letters,  takes  a  genitive  after  the  analogy  of  the  gen.  with 
piget,  etc.     Translate  show  respect  for,  feel  fear  because  of. 

972.  quin :   following  the  idea  of  prevention  implied  in  what  has 
preceded. 

nouo  modo :  it  is  noteworthy  that  the  fault  of  which  Chremes  had 
been  guilty  is  here  set  down  as  a  very  unusual  thing  for  those  times. 

974.   dabo:  render,  as  in  And.  683,  Heaut.  950,  Eun.  212,  etc. 

974-975.  ita  .  .  .  incensam  .  .  .  ut  ne  restinguas :  so  enraged 
that  you  SHALL  not.  The  ne  shows  that  this  w£-clause  is  an  expres- 
sion of  determination  involving  the  will,  and  it  must  accordingly 
be  translated  by  shall  not,  instead  of  will  not.  The  negative  of 
the  latter  expression  would  be  non.  See  App. 

976.  malum :  the  mischief!  serving  also  as  the  antecedent  of 
quod.     This  verse  is  identical  with  Plaut.  Most.  655. 

duint :  see  note  on  1 23. 

977.  tantane  adfectum  ease:  for  the  use  of  the  inf.  with  -ne, 
see  note  on  153. 


148  PHORMIO. 

978.  scelus,  strictly  referring  to  the  deed,  here  as  often  in  vul- 
gar speech  designates  the  person  guilty  of  it,  viz.  scoundrel. 

979.  publicitus  .  .  .  asportarier:  i.e.  as  a  public  nuisance,  a 
menace  to  society. 

980.  prorsum    (pro  +  uorswni) :    lit.   turned  forwards;    then, 
straight  ahead,  not  swerving  in  any  direction ;  then,  exactly,  pre- 
cisely, or,  as  here,  absolutely,  utterly. 

981.  in  iua  eamus  :  see  note  on  936. 

hue :  Phorrnio  proposes  that  Nausistrata  shall  act  as  judge  this 
time. 

982.  dum:  while. 

983.  enim :  this  position  of  enim  is  un-Ciceronian  ;  see  notes  on 
113  and  465. 

una  iniuria :  one  case  of  assault  against  Demipho,  who  had 
already  laid  hold  of  him.  Chremes  next  takes  hold,  drawing  from 
Phormio  the  further  threat  alterast,  etc.  (984.) 

984.  agito  :  bring  action. 

985.  enim  uero :  see  note  on  465. 

988.  taceam  :  an  echo,  as  it  were,  of  the  preceding  faces.     See 
notes  on  122,  382,  etc. 

oculum :  an  eye,  his  eye.  For  the  singular,  cf.  "black  a  man's 
eye,"  "black  his  eye  for  him."  Dziatzko,  strangely  enough,  con- 
cludes from  this  that  Phormio  must  have  had  only  one  eye. 

989.  eat  ubi :   taken  together,  like  eo-rtc  8re,  as  an  adverb  mean- 
ing sometime. 

probe :  in  fine  style.    Notice  the  emphatic  position. 

ACT  V,   SCENE   9. 

990.  qui  =  quis.    See  note  on  129. 

991.  obstipuisti :  the  form  obstipesco  is,  for  Terence,  a  better 
attested  spelling  than  obstupesco,  etc.     Cf.  And.  256 ;  Ad.  613. 

992.  hicine  ut,  etc. :  see  note  on  304. 

993.  creduas  :  see  Introd.,  p.  xxxix,  note  2. 

998.  non  .  .  .  temerest  quod :  it  is  not  without  reason,  that, 
etc.,  the  <?Moc?-clause  being  the  subject  of  est. 

tarn  with  verbs  in  the  sense  of  so  much,  so  greatly  (—  tantum), 
without  a  following  quam,  is  very  rare  in  classical  times. 


NOTES.  149 

999.    egon  timeo  :  see  note  on  122  (end). 

recte  sane :  very  well,  ironically  assenting  to  Chremes'  implied 
claim  that  he  was  not  afraid. 

1001.  tibi  narret :  taking  up  the  preceding  narra,  tell  it  at  your 
bidding?  See  note  on  122. 

1003.  dicto,  scito :  see  note  on  584. 

1004.  clam :  often  a  preposition  in  early  Latin,  but  in  Terence 
only  with  me  and  te.     In  classical  times  it  was  used  only  as  an  ad- 
verb.    See  App. 

1005.  mi  homo  :  my  good  man  t 
1007.   quid  agimus  :  see  note  on  447. 

1009.  hoc  actumst :  playing  upon  Chremes'  quid  agimus?  in 
1007,  but,  as  actum  est  is  often  used  in  the  sense  of  Ws  all  over, 
i.e.  there  is  no  further  hope,  the  present  expression  suggests  also 
this  latter  meaning. 

hodie :  see  note  on  377. 

1011.  distaedet:  dis  is  intensive  as  in  dispudet  (Eun.  832),  but 
such  compounds  are  very  rare  and  are  not  to  be  found  in  the  best 
period. 

1012.  haecine  erant  itiones,  etc.:  i.e.,  this  was  the  cause  of 
the  frequent  visits,  etc. 

1014.  ease  meritum :  sc.  eum.     See  note  on  255. 

1015.  quin  sit  ignoscenda :  why  should  it  not  be  worthy  of  par- 
don?  This  is  not  so  difficult  as  some  commentators  have  made  it. 
Quin  is  used  as  in  209,  429,  Heaut.  832,  etc.,  and  the  subjunctive 
is  like  that  in  cur  non  gaudeat?    e.g.  Cic.  Cat.  4,  1,  2.     For  a  dis- 
cussion of  such  subjunctives  see  American  Journal  of  Philology, 
Vol.  XV.  (Latin  Prohibitive,  Part  II.). 

uerba  fiunt  mortuo :  Demipho's  attempt  to  palliate  his  brother's 
guilt  reminds  Phormio  of  a  funeral  oration  (laudatio  funebris') ,  in 
which  it  was  customary  to  sound  the  praises  and  conceal  the  faults 
of  the  dead.  The  words  are  made  still  further  appropriate  by  the 
fact  that  Chremes  in  the  meantime  is  standing  by,  as  speechless 
and  motionless  as  a  dead  man  (cf.  994  and  1026),  and  probably 
wishing  he  were  one. 

1016.  tua  .  .  .  tuo :  used  objectively. 

1019.  fait .  .  .  scrupulus :  caused  all  the  trouble.  See  note  on 
954. 


150  PHORMIO. 

1021.  cupio :  notice  the  very  emphatic  position,  /  do  indeed 
long. 

defungier :  to  be  now  having  my  last  experience  (of  this  sort 
of  thing).  For  other  absolute  uses  of  this  verb,  see  Eun.  15 
and  cf.  the  common  use  of  defunctus,  deceased,  lit.  one  who  has 
finished. 

1024.  mea :  emphatic,  my  own.  B.  350,  5  c ;  G.  676,  R.  1,  with 
672,  2  a. 

1026-1029.  At  such  unanswerable  questions  from  Nausistrata, 
Demipho  is  for  the  moment  dumbfounded  and  in  his  confusion 
finds  nothing  to  say.  This  suggests  to  Phormio  that  the  funeral 
oration  (1015)  is  now  finished,  and  he  playfully  calls  upon  the 
audience  to  join  the  procession  to  the  place  of  burial.  After  Phor- 
mio has  made  the  most  of  this,  he  pauses  (at  the  end  of  1028)  and 
looks  for  some  time  at  Chremes,  who  te  now  bowed  down  with  hu- 
miliation and  disgrace  ;  then,  pretending  to  be  moved  to  pity  at  the 
sight  of  such  an  object,  he  suddenly  changes  his  tone,  still  speak- 
ing, however,  to  the  audience  :  (Poor  fellow  /)  let  him  by  all  means 
make  up  with  her  now,  I  am  satisfied.  The  corroborating  particle 
sane  (instead  of  sed,  or  the  like)  may  seem  somewhat  strange,  but 
it  falls  short  of  justifying  Dziatzko's  claim  that  a  verse  given  to 
Demipho  must  have  fallen  out  between  1028  and  1029.  The  sane 
is  sufficiently  explained  by  supposing  it  to  corroborate  the  un- 
spoken wish  which  many  present  would  feel  at  the  sight  of  Chremes 
in  his  present  condition. 

exsequias :  a  reminiscence  of  the  time  when  the  ace.  of  any 
noun,  except  the  name  of  a  living  thing,  could  be  used  without  a 
preposition  to  express  limit  of  motion.  Later,  this  use  was  limited, 
except  in  poetry,  to  names  of  towns  and  small  islands  and  a  few 
other  words,  e.g.  domum,  rus. 

1027.  sic  dabo :  that's  the  way  Pll  give  it  to  him. 

1028.  faxo  ...  sit   mactatus.     Notice  the  air  of  braggadocio 
given  by  the  use  of  the  tense  of  future  accomplishment  instead  of 
the  mere  future.     See  note  on  516.    On  the  reading  of  the  Mss., 
see  App. 

1030.  quod  .  .  .  obganniat :  a  potential  characterizing  clause. 
See  note  on  488. 

dum  .  .  .  uiuat :  dum  in  the  sense  of  so  long  as  takes  the  indie- 


NOTES.  151 

ative,  but  the  mood  of  uiuat  is  here  colored  by  the  subjunctive 
clause  in  which  it  stands. 

usque :  continually,  seems  to  modify  the  whole  phrase  ad  aurem 
obganniat.  One  would  gladly  take  usque  ad  in  its  usual  sense  of 
all  the  way  to,  but  it  seems  impossible  here  to  make  sense  out  of 
such  a  conception. 

ad  aurem:  for  this  use  of  ad,  to,  cf.  the  expression,  "  abuse  a 
man  to  his  face." 

1031.  meo  merito  credo :  sc.  haecfacta  esse. 

1032.  aeque  .  .  .  cum :  peculiar  to  colloquial  Latin. 

1033.  gentium :   akin  to  a  genitive  of  the  whole,  or  partitive 
genitive,  as  it  is  commonly  called.     A.  &  G.  216,  a.  4 ;  B.  201 ;  G. 
372,  n.  3  ;  H.  397,  4. 

1036.  priusquam  dat :  cf.  1037. 

1038.  For  this  exception  to  the  normal  position  of  the  caesura  in 
the  trochaic  septenarius,  see  Introd.,  p.  xxxv,  and  cf.  1042. 

1040.  filius  homo  adulescens  ai :  for  the  force  of  the  position 
of  these  words,  see  note  on  200. 

1041.  unam  amicam  .  .  .  uxores  duas :  notice  the  chiasmus, 
contrasting  duas  with  unam,  and  uxores  with  amicam. 

1043.  immo :  introducing  a  refusal  to  comply  with  Demipho's 
ignosce  in  1035.  The  interruptions  had  prevented  her  answering 
before. 

1047.  immo  :  correcting  satin  as  being  too  feeble  a  word. 

discedo  :  see  note  on  773. 

1050.  at :  see  note  on  900. 

ecastor :  a  word  used  only  by  women,  who  seem  never  to  have 
used  hercle.  Pol,  on  the  other  hand,  was  common  among  both 
sexes. 

quod  potero :  so  far  as  I  shall  be  able.  This  quod  seems  akin  to 
an  ace.  of  extent.  Cf.  Ad.  611. 

1051.  faciamque  et  dicam :  this  -que  et,  both  .  .  .  and,  occurs 
several  times  in  Terence.     See  App. 

1052-3.  quod  gaudeam,  quod  .  .  .  doleant :  gaudeo  is  seldom 
found  with  the  ace.  in  classical  times,  though  doleo  in  this  construc- 
tion is  common. 

1054.  See  App. 

1055.  iudex  noster :  cf .  1045. 


152  PHOKMIO. 

faxo  :  see  note  on  308. 

cantor:  if  we  may  believe  Livy  (7,  2),  the  cantica  (see  Introd., 
p.  xxxviii)  were,  at  least  sometimes,  sung  not  by  the  actor,  but  by 
someone  called  the  cantor,  the  actor  merely  accompanying  the  song 
with  appropriate  gestures.  It  was  this  cantor,  apparently,  who 
came  forward  at  the  end  of  the  play  and  asked  the  audience  for 
plaudits  of  approval.  As  he  was  the  last  to  speak,  the  Mss.  of  Ter- 
ence designate  the  cantor  by  u. 

UOB  ualete  et  plaudite:  some  such  address  to  the  audience 
was  customary  at  the  close  of  all  Roman  plays.  In  Plautus  this 
address  is  commonly  somewhat  elaborate,  but  in  Terence  it  is  sim- 
plified to  the  words  before  us  or,  in  the  Andria,  the  Hecyra,  and  the 
Adelphoe,  to  the  single  word  plaudite. 


APPENDIX. 


As  Intimated  in  the  preface,  this  appendix  is  devoted  almost 
exclusively  to  the  citation  of  authorities  for  statements  made  in  the 
notes,  where  such  citation  seems  desirable,  and  to  the  defense  of 
readings,  adopted  in  this  edition,  which  are  at  variance  with  the 
text  of  Dziatzko. 

As  the  testimony  of  the  manuscripts  is  frequently  referred  to 
below,  it  will  be  well  to  keep  in  mind  the  relative  importance  of 
the  different  families.  The  following  diagram  is  offered  with  a 
view  to  making  clearer  the  relationship  between  them. 


A  Ms.,  also  lost,  belonging  to  the  Calliopian  recension, 
from  which  all  extant  MSB.,  except  A,  are  descended. 


A  Ms.  from  which  DLVG  are  de- 
scended. 


A  Ms.  from  which  PCFBE  are  de- 
scended. 


D,  Victorianus,  9th  or  10th  century; 
perhaps  the  oldest  of  the  MSB. 
belonging  to  the  Calliopian  re- 
cension. 

L,  Lipsiensis,  10th  century. 

V,  Fragin.  Vindob.,  10th  or  llth 
century. 

G,  Decurtatus,  llth  or  12th  cen- 
tury. 


P,  Parisinus,  9th  or  10th  century, 
the  best  Ms.  belonging  to  the 
Calliopian  recension. 

C,  Vaticanus,  9th  or  10th  century. 

F,  Ambrosianus,  9th  or  10th  cen- 
tury. 

B,  Basilicanus,  10th  century. 

E,  Biccardianus,  llth  century. 


163 


154  PHORMIO. 

i 

Of  the  manuscripts 
CPD  are  preserved  entire  ; 

A  lacks  And.  1-887,  Hec.  Prol.  I  and  II,  1-30,  Ad.  915-997  ; 
B  lacks  Eun.  937-1094,  Heaut.  1-229  ; 
E  lacks  And.  1-183,  Phorm.  900-1055  ; 
F  lacks  all  of  the  Andria,  Eun.  1-416,  Phorm.  832-1055  ; 
G  lacks  Eun.  848-1021,  Heaut.  1-313,  1049-1667,  Phorm.  779- 

1055,  Hec.  1-194,  309-880  ; 
V  is  a  fragment  containing  And.  912-981  and  Ad.  26-158. 

About  certain  details  of  the  diagram  above  given  there  is  oppor- 
tunity for  differences  of  opinion,  but,  in  a  general  way,  it  rep- 
resents fairly  well  the  views  now  prevailing.  I  have  followed 
Prinzhorn,  Dziatzko,  Schlee,  and  others,  in  making  DG  represent 
an  older  family  than  PC.  Pease,  however,  in  a  paper  on  the  Rela- 
tive Value  of  the  Manuscripts  of  Terence  (Transactions  of  the 
American  Philological  Association,  1887),  has  proved  conclusively 
that  P  is  far  more  trustworthy  than  any  other  Ms.,  with  the  ex- 
ception of  A.  It  is  extremely  probable,  too,  that  the  pictures  in 
PCF  (see  note  on  dramatis  personae)  have  come  from  a  Ms.  of  the 
best  period  (Leo,  Rh.  Mus.  xxxviii ;  Schlee,  Scholia  Terentiana ;  et 
al.},  though  it  seems  equally  probable  that  the  text  of  PCF  has 
not  been  materially  influenced  by  this  early  Ms. ;  see,  for  instance, 
Schlee,  pp.  6  f.  For  the  literature  that  has  appeared  on  this  sub- 
ject since  the  publication  of  Dziatzko's  edition,  see  the  end  of  this 
volume. 

DIDASCALIA. 

ATI  LIVS :  Dziatzko  reads  H  ATI  LI  VS.  The  initial  H  rests  solely  upon 
the  authority  of  A  in  the  didascaliae  of  the  Eunuchus  and  of  the 
Adelphoe,  and  upon  the  mark  preceding  the  name  in  B  ('ATTILIVS) 
and  in  C  ('ANTILIVS)  in  the  didascalia  of  the  Eunuchus.1  No 
weight  whatever,  in  my  opinion,  is  to  be  attached  to  this  evi- 
dence. The  scribe  of  A  resembled  the  Arrius  of  Catullus  (83,  2), 
in  having  a  decided  fondness  for  an  initial  h  (which  he  writes  7T). 
In  no  less  than  17  places,  he  uses  h  where  it  does  not  belong :  his 
for  is  (nom.  sing.),  And.  935,  Eun.  205,  Phorm.  461  ;  habeo  for 
abeo,  Heaut.  928,  Hec.  586  ;  hem  for  em,  Eun.  237,  835 ;  Stilpho 

1  See  Priscian,  pp.  35  f.  [Kell],  and  Dziatzko  in  Rh.  Mus.  xx,  p.  588,  with  the 
authorities  there  cited. 


APPENDIX.  155 

for  Stilpo,  Phorm.  389,  390,  740 ;  PampaMlum  for  Pamphilum, 
Hec.  804.  Cf .  hunc  for  nwnc,  And.  936  ;  hue  for  due,  Phorm.  410 ; 
hico  for  dico,  Hec.  232  ;  also  phidicina,  Phorm.  Per.  5, 11 ;  Ad.  Per. 
7  ;  these  last,  however,  belong  to  a  different  class  of  phenomena. 

In  10  of  the  instances  just  cited,  A  is  the  only  one  of  the  MSB. 
which  shows  this  incorrect  use  of  h  in  the  word  concerned.  It 
appears  then,  strangely  enough,  that  the  best  of  all  the  Mss.  of 
Terence  contains  the  largest  number  of  errors  in  these  particular 
instances.  The  evidence  of  B  and  C  is,  generally  speaking,  still 
more  worthless.  In  B,  the  most  unreliable  of  all  the  Mss.  in  this 
respect,  there  are  no  fewer  than  80  instances  of  the  incorrect  use 
of  h,  and  in  C  there  are  45 ;  e.g.  his  for  is  (nom.  sing.),  And.  51, 
Phorm.  722  ;  herus  for  erus,  And.  175,  183,  208,  412,  423,  508,  602, 
etc. ;  hei  for  ei,  And.  322,  622,  Heaut.  234  ;  hostium  for  ostium, 
And.  507,  682,  Ad.  637  ;  heu  for  eu,  Eun.  154,  Phorm.  398,  478 ; 
humerus  for  umerus,  Eun.  314,  Phorm.  844 ;  habeo  for  abeo,  Eun. 
342, 494,  Heaut.  212,  928,  Hec.  224,  Ad.  786  ;  hecqua  for  ecqua,  Eun. 
521  ;  hisdem  for  eisdem,  Heaut.  300  ;  habundo  for  abundo,  Heaut. 
528 ;  heuge  for  euge,  Heaut.  677 ;  Chorinthum  for  Corinthum, 
Hec.  86.  Other  forms  of  similar  character  abound  in  the  other 
Mss.,  e.g.  hausculto  for  ausculto,  Haeschinus  for  Aeschinus,  haedes 
for  aedes,  adhulescens  for  adulescens.  The  number  of  instances 
of  the  incorrect  use  of  h  in  the  different  Mss.  is  as  follows : 

B,  80. 

E,  59. 

F,  46. 

G,  CO. 

C,  45. 
P,  15. 

D,  50. 

A,  17  (not  counting  the  two  instances  of  Hatilius). 

It  will  be  seen  from  the  above  showing  that  a  stronger  case  might 
be  made  out  in  favor  of  writing,  for  instance,  his  for  is  (nom.  sing.) 
than  has  been  made  out  in  favor  of  Hatilius,  There  is,  so  far  as 
I  know,  no  real  evidence  that  Hatilius  was  ever  a  recognized  form, 
though  it  does  occur  once  in  inscriptions  (C.I.L.  X,  8067,  11). 
Atilius  is  common  enough  at  all  periods.  For  the  untrustworthi- 
ness  of  our  Mss.  in  such  matters,  see  especially  Corssen,  Aus- 
sprache,  etc.,  1,  pp.  110  f. 


156  PHORJVUO. 


PERIOCHA. 

G:  the  abbreviation  for  Gaius  was  C  (by  which  character  the 
0-sound  was  in  early  times  represented)  throughout  classical  La- 
tiuity,  and  this  character  continued  to  be  the  regular  abbreviation 
in  imperial  times.  At  the  time,  however,  when  the  periochae  of 
Terence  were  written,  the  character  G  was  also  often  used.  Cf. 
C.I.L.,  Indices.  Codex  A  has  G  in  the  five  periochae  it  has  pre- 
served. 

7.  earn  uisam  Antipho  :  Fleckeisen  and  Dziatzko  insert  cum  be- 
fore uisam,  and  Opitz  (Leipziger  Studien,  VI,  p.  213  sq.)  inserts 
it  before  Antipho,  to  avoid  violating  the  rules  that  have  been  laid 
down  by  various  editors  of  Plautus  and  Terence,  and  summed  up 
by  Lindsay  (Latin  Language,  p.  209),  regarding  the  hiatus.  This 
seems  to  me  a  needless  tampering  with  the  manuscripts,  which 
unanimously  present  the  reading  adopted  in  the  text.  The  hiatus 
in  visam  Antipho  may  be  easily  paralleled.  The  recent  critical  edi- 
tion of  Plautus'  Amphitruo,  Asinaria,  Aulularia,  Bacchides,  Cap- 
tivi  and  Casina  by  Goetz  and  Schoell,  shows  that  in  these  six  plays 
alone  there  are  numerous  instances  that  will  not  conform  to  the 
"rules,"  e.g.: 

Capt.  24,  Postquam  belligerant  Aetoll  cum  \  Aleis. 
93,  Ita  nunc  belligerant  Aetoll  cum  \  Aleis. 
31,  Summoque  genere  captum  esse  eqmtem  \  Aleum. 
Bacch.  987,  Nunc  superum  limen  scinditur,  nunc  adest  exitlum 
\Ilio. 

Gas.  Arg.  1,  Conseruam  uxorem  duo  conserui\  expetunt. 
48,  Placere  posset  earn  puellam  |  hie  senex. 
612,  Cum  hac,  cum  istac  cumque  arnica  etiam  tua,  on  which 

reading,  see  Corssen,  Ausspr.  etc.,  p.  790. 
Amph.  897,  Sed  eccum  uideo,  qui  me  miseram  |  arguit. 

Other  similar  examples  in  Plautus  are  As.  698,  Bacch.  852.  The 
hiatus  after  m  is  of  course  very  common  in  cases  like  Plaut.  Mil. 
1012,  1028  ;  Men.  26,  geminum  \  alterum  (changed  by  Ritschl), 
665,  Capt.  395.  It  is  a  well-known  fact  that  m  in  dactylic  verse 


APPENDIX.  157 

was  often  not  elided,  e.g.  Lucil.  1,  32  (M.)  canes  quam  homo,  Enn. 
Ann.  354  (M. )  mllitum  octo,  322  dum  quidem  unus,  Lucr.  2,  681 
stint  cum  More,  3,  394  et  quam  in,  3,  1082  sed  dum  abest,  6,  276 
simiil  cum  eo,  Hor.  Sat.  2,  2,  28  coct6  num  adest.  For  other  ex- 
amples from  Lucretius,  Catullus  and  Vergil,  see  Munro  on  Lucr. 
2,  404  ;  for  a  discussion  of  this  whole  subject,  Corssen,  Aussprache 
etc.,  p.  790  f.,  and  Studemund's  Studien,  1,  p.  22.  The  non-elision  of 
m  is  common  in  Terence  in  cases  like  And.  Per.  4,  nam  alia  (see 
Spengel's  critical  note  in  his  second  edition),  Phorm.  808  illi  quam 
ego,  982  retine  dum  ego  ;  cf.  27,  383,  419,  501,  etc.  Objection  may 
be  raised  to  the  reading  adopted  in  the  text,  on  the  ground  that  no 
example  has  been  cited  from  Terence  which  presents  exactly  the 
same  conditions  in  every  respect.  But  it  must  be  remembered 
that  this  periocha  was  not  written  by  Terence,  but  by  a  gramma- 
rian of  the  2d  century  A.D.,  who  was  trying  to  imitate  early  usage. 
At  any  rate,  when  the  Mss.  of  an  author,  written  centuries  apart, 
belonging  to  entirely  different  families,  and  having  entirely  different 
histories,  have  all  preserved  a  verse  in  exactly  the  same  form  with- 
out a  hint  of  any  variant,  their  evidence  should  not  be  disregarded 
without  more  imperative  reasons  than  exist  in  the  present  case. 

12.  adgnitam  (ACD)  :  an  attempt  to  imitate  earlier  usage.  At 
the  time  of  Sulpicius  Apollinaris,  agnitam  had  become  the  common 
orthography. 

PROLOGUE. 

2.  transdere :  transdere  ueteres  sonantius,  quod  nos 
lenius  tradere,  etc.  (Donatus) .  The  Mss.  have  here  tradere, 
but  in  Heaut.  740,  DG  have  transducenda. 

17.  tractant:  A  (first  hand)  has  tractent,  and  perhaps  this  is 
the  correct  reading,  though  the  subjunctive  here  would  be  excep- 
tional in  Terence.  See  note. 

18-34.  A  facsimile  of  these  verses,  as  found  in  A,  is  given  m 
Zangemeister  and  Wattenbach's  Exempla  Codicum  Latinorum, 
Tab.  VIII. 

21.  The  Mss.  all  read  id  in  this  verse,  A  having  it  before  sibi, 
the  others  before  rellatum.  It  seems  to  be  an  interpolation. 

33.  restituit :  Havet  in  the  Kevue  de  Philologie,  10  (1886),  p.  15, 
suggests  restituat. 


158  PHOKMIO. 


44.   Charisius,  p.  32  K,  defines  genius  as  y 

49.  ?<M  initiabunt  :  see  Donatus  on  this  passage,  and  Dziatzko's 
critical  note.  For  initiation  of  childi'en  into  mysteries,  see  Smith's 
Dictionary  of  Greek  and  Roman  Antiquities  (3d  ed.  1891),  I,  p.  722  ; 
Boeckh,  Corpus  Inscriptionum  Graecarum,  393,  400,  443,  444,  445, 
448. 

71.  Me,  the  reading  of  A  (first  hand),  is  more  probably  correct 
than  hinc  of  the  other  Mss.  The  hinc  might  easily  have  been  sub- 
stituted for  hie  through  the  influence  of  such  passages  as  And.  317, 
Eun.  206,  494,  716,  Heaut.  211,  212,  586,  Ad.  841,  Phorm.  1054  and 
elsewhere.  Its  position,  too,  points  to  a  connection  with  relinquont 
rather  than  with  abeuntes. 

77.  It  is  possible  that  the  words  namque,  etc.,  should  be  given  to 
Geta. 

86.  Dziatzko,  Wagner,   Sloman,   Bond  and  Walpole,   Linder- 
strom-Lang,  and  others  write  redducere  instead  of  reducere.     I  see 
no  sufficient  reason  for  adopting  this  orthography  in  the  present 
case.    The  manuscript  evidence  is  confirmed  by  the  explicit  testi- 
mony of  the  grammarians.     Nothing  could  be  more  to  the  point 
than  the  words  of  Priscian,  1,  p.   47  :    r  eddu  co    quod  etiam 
r  edit  co    dicitur  .  .  .  Terentius  in  Phormione   "  sectari  .  .  .  ac 
reducer  e."   Donatus,  too,  in  quoting  this  passage  (Hec.  4,  1,  36) 
has  reducere,  and  that  he,  as  well  as  Priscian,  appreciated  the  point 
involved  is  clear  from  the  fact  that  he  elsewhere  (e.g.  Phorm.  21) 
distinctly  recognizes  the  other  orthography  as  also  used  in  certain 
passages  (e.g.  rellatum  in  21,  and  relliquiae  in  Verg.  Aen.  1,  34). 
Both  methods  of  spelling  such  words  are  found  not  merely  in  dif- 
ferent authors  of  the  same  period,  e.g.  redducere  in  Lucr.  1,  228  ;  4, 
992  (see  Lachmann  on  5,  614),  reducere  in  Catull.,  but  also  in  dif- 
ferent passages  of  the  same  author,  e.g.  rellatus  in  Lucr.  2,  1001, 
relatus  in  5,  686.     Cf.  also  such  forms  as  reccidere,  in  Lucr.  1,  857 
and  5,  280  with  recident  in  Plaut.  Men.  520,  and  recidit  in  Enn. 
Ann.  223  (Baehrens)  ;  relliquiae  in  Verg.  Aen.  1,  30  ;  3,  87,  and 
Lucr.  6,  825  (re.  or  rell.)  with  reliquiae  in  Plaut.  Rud.  1274  (1287) 
and  Ter.  Ad.  444. 

87.  The  verse  of  the  Greek  original,  imperfectly  preserved  by 
Donatus,  is  completed  by  Dziatzko  as  follows:  rj/jxls  5t  [o-^xoXot] 
ffvveirene\oiJiJ£6a,  (Rh.  Mus.  XXX,  pp.  370  ff.). 


APPENDIX.  159 

131.  Some  editors,  among  them  Dziatzko,  punctuate  with  a  colon 
after  confingam  and  a  comma  after  commodum. 

166.  The  Mss.  have  est  after  istuc,  and  conscius  sis  at  the  end 
of  the  verse.  Bentley  dropped  the  est  and  was  followed  by  editors 
until  Schlee  (de  versuum  in  canticis  Terentianis  consecutione,  1879) 
showed  that  quid  istuc?  was  used  merely  as  an  expression  of  sur- 
prise, quid  istuc  est?  as  a  real  question,  thus  vindicating  the  reading 
of  the  Mss.  in  the  present  passage.  The  interpolation  of  sis  at  the 
end  is  due  to  a  misunderstanding  of  the  conscius  (i.e.  consciu's  for 
conscius  es)  and  the  consequent  desire  to  complete  the  clause. 
Dziatzko,  while  retaining  est,  expresses  the  view,  "  dass  auch  quid 
istuc?  der  Ausdruck  der  Verwunderung,  hier  nicht  gerade  unange- 
messen  ware."  How,  then,  would  he  explain  Antipho's  reply  ? 

170.  For  istaec,  etc.,  see  Neue,  Formenlehre,  3d  ed.  by  Wagener 
(1892),  II,  pp.  398  ff.  Fr.  Schmidt,  Quaest.  de  pron.  dem.  for.  Plaut. 
(1875),  p.  80  f.,  tries  to  show  that  Terence,  as  well  as  Plautus,  uses 
only  istaec,  never  ista,  in  neut.  plur.,  but  see  Ad.  185  and  677. 

175.  retinere  an  amorem  amittere :  the  Mss.  have  retinere  amare 
amittere.  Goldbacher,  Wiener  Studien,  VII  (1885),  p.  162,  seems 
to  me  to  make  out  a  strong  case  in  favor  of  the  reading  I  have 
adopted.  Dziatzko  reads  retinere  amorem  an  mittere;  but  this 
disturbs  the  parallelism  between  these  infinitives  and  the  amittendi 
nee  retinendi  in  the  next  verse. 

193.  Mahly  (Blatter  fur  das  bay.  Gymnasialwesen,  24  [1888], 
p.  478  f.)  arbitrarily  changes  nescio  to  hau  scio. 

199.  Cod.  A  (first  hand)  has  et  patruom  tuom,  which  reading  is 
preferred  by  C.  Sydow,  De  fide  libr.  Ter.  etc.,  p.  34,  and  by  Hauler 
(Wiener  Studien,  IV  [1882],  p.  322  f.),  who  support  this  reading 
by  Plaut.  Trin.  111. 

215.  sed  hie  quis  est  senex :  Dziatzko  reads  sed  quis  hie,  etc.,  re- 
jecting, with  Seyffert  (Stud.  Plaut.,  Berlin,  1874)  the  reading  of  A. 
I  have  preferred  to  follow  A  for  the  following  reasons:  (1)  In  the 
matter  of  the  relative  position  of  words,  this  Ms.  is  overwhelm- 
ingly superior  to  the  best  of  the  other  Mss.  See  Pease,  on  the 
Relative  Value  of  the  Mss.  of  Terence  (Transactions  of  the  Am. 
Phil.  Assoc.  for  1887,  p.  33)  ;  (2)  This  is  a  case  where  the  scribes 
of  the  other  Mss.,  who  show  a  constant  tendency  to  tamper  with 
the  order  of  words,  would  be  sure  to  invert  the  order,  to  make  it 


160  PHORMIO. 

normal.  On  the  other  hand,  if  the  original  reading  had  been  sed 
quis  hie,  etc.,  it  would  be  difficult  to  account  for  the  change  to 
sed  hie  quis,  in  a  Ms.  so  noted  for  its  accuracy  in  such  matters ; 
(3)  Finally,  the  order  of  words  in  A  is  far  more  effective,  indi- 
cating the  surprise  of  the  speaker,  "6w£  this  man  —  who  is  the 
old  fellow?'1''  Cf.  Cic.  in  Verr.  2,  4,  3,  2,  Canephorae  ipsae  uoca- 
bantur ;  sed  earum  artificem,  quern? 

215-216.  On  the  manuscript  variations  in  these  lines,  see  Havet 
in  the  Revue  de  Philologie,  11  (1887),  p.  48. 

243.  I  have  not  followed  Dziatzko  in  bracketing  this  line,  as  the 
grounds  adduced  seem  to  me  insufficient.  Not  only  do  the  Mss. 
speak  for  its  authenticity,  but  it  is  clear  from  Cic.  Tusc.  Disp.  3,  14, 
30,  that  the  verse  stood  in  Cicero's  copy  of  Terence,  and  that  he 
regarded  it  as  genuine. 

245.  Cicero  (Tusc.  Disp.  3,  14,  30)  has  Communia  esse  haec,  ne 
quid  horum  umquam  accidat  animo  nouom.  Cicero,  however,  may 
have  been  quoting  from  memory.  His  authority  on  the  exact 
wording  of  a  verse  deserves  less  consideration  than  that  of  the  best 
copyists,  who  were  professedly  reproducing  what  they  actually  had 
before  them. 

328.  Dziatzko  brackets  this  line  as  an  interpolation,  objecting  to 
the  use  of  turn  and  of  noui.  But  such  a  use  of  turn  is  easily 
paralleled,  e.g.  And.  262  ;  Cic.  Philip.  3,  3,  7,  and  the  object  of 
noui  is  the  pedum  uia,  which,  as  is  shown  in  the  following  verse,  is 
still  uppermost  in  his  thoughts :  "  The  better  I  know  the  path,  the 
oftener  I  tread  it." 

345.  On  the  "subjunctive  of  obligation  or  propriety,"  see  my 
discussion  of  the  Latin  Prohibitive,  in  the  American  Journal  of 
Philology,  Vol.  XV.  (No.  58),  1. 

367.  For  the  "  classifying  "  relative  clause,  see  Hale,  The  Cum- 
Constructions,  p.  92 ;  see  also  P.  Barth,  N.  Jahrb.  f.  Phil.,  1884,  p. 
181  f. 

368.  Vi,  the  reading  of  the  Mss.,  is  regarded  by  Dziatzko  as  a 
gloss  to  explain  atque. 

381.  For  exceptions  to  the  rule  for  the  sequence  of  tenses,  see 
Hale,  Sequence  of  Tenses,  Am.  Journ.  Phil.,  Vols.  VII.  and  VIII. 

410.  On  this  line,  see  Mahly  in  Blatter  fur  das  bay.  Gymnasial- 
tfesen,  XXIV  (1888),  p.  478. 


APPENDIX.  161 

413.  On  the  monosyllabic  ending,  see  P.  Fabia,  Revue  de  Philo- 
logie,  17  (1893),  p.  29. 

419.  For  non  agam?  see  the  discussion  of  so-called  deliberative 
questions  with  non  in  the  Am.  Journ.  Phil.,  Vol.  XV.  (Latin  Pro- 
hibitive, Part  II.). 

423.  The  Mss.  collated  by  Umpfenbach  have  iam  ducenda  with 
the  exception  of  D,  which  has  iam  ducendu.  There  is  no  authority 
for  the  ad  (iam  ad  ducendum)  inserted  by  editors.  I  have  accord- 
ingly adopted  the  reading  of  the  Lipsiensis  (L)  iam  ducendi  aetas. 
The  slurred  pronunciation  of  the  i  before  aetas  would  easily  account 
for  the  a  (of  A)  and  for  the  u  (of  D).  Such  a  genitive  of  the  ger- 
und depending  upon  tempus,  spatium,  and  similar  words,  is  common 
in  Plautus  and  Terence.  Cf .  Platner,  Notes  on  the  Use  of  Gerund  and 
Gerundive  in  Plautus  and  Terence  ( Am.  Journ.  Phil.  XV. ,  p.  483  ff.). 

440.  On  the  question  of  scene-division  at  this  point,  see  below 
(884). 

488.  The  term  "  predicating  characterizing,"  found  in  my  notes, 
is  adopted  from  Hale. 

600.  I  believe  me  to  be  an  interpolation.  This  seems  the  most 
reasonable  explanation  of  the  variations  of  the  Mss.  In  A  me  is 
placed  immediately  after  ut,  in  L  (Lipsiensis)  it  is  before  ut,  in 
D!G  it  is  omitted  altogether,  but  G2  adds  it  after  ducas;  in  the 
other  Mss.  it  appears  after  dictis.  This  is  just  what  we  should  ex- 
pect if  me  had  not  stood  in  the  original  text.  The  copyists,  not 
recognizing  the  absolute  use  of  ducere,  took  it  upon  themselves  to 
insert  an  object  for  it.  Ducere  is  often  used  absolutely  in  its  other 
significations,  and  other  words  meaning  "deceive,"  e.g.  fallere, 
decipere,  are  similarly  used.  With  the  omission  of  me,  the  sense  is 
"To  think  that  you  are  so  bold-faced,  etc.,  that  you  are  trying  to 
deceive  (allure}  with  your  glittering  words,  and  to  lead  off  my  girl 
for  nothing.'11 

501.  On  the  force  of  ne  feceris,  see  Am.  Journ.  Phil.,  Vol.  XV. 
(Latin  Prohibitive,  Part  L).  On  the  origin  and  sphere  of  the  so- 
called  gnomic  perf.  (aorist),  see  my  note  in  the  Proceedings  of  the 
Am.  Phil.  Assoc.  for  1894. 

ueris :  all  the  Mss.  have  this  reading.  Dziatzko  rejects  it  in  favor 
of  uerbis  (uerbis  having  been  substituted  by  a  second  hand  for 
the  original  reading  of  G),  owing  to  Earth's  claim  that  the  neuter 


162  PHORMIO. 

of  an  adj.  is  not  used  substantively  in  Terence,  except  when  used 
"  in  generellem  Sinne."  Vera  is  frequently  used  substantively  in 
both  Plautus  and  Terence,  and  it  seems  safer  to  admit  exceptions 
to  a  rule  involving  fine  distinctions,  than  to  change  the  Mss.  to 
make  them  conform  to  it  in  every  case. 

502.  neque:  Dziatzko  adopts  Wagner's  conjecture  and  writes 
atque,  but  the  reading  of  the  Mss.  seems  tenable,  if  we  understand 
alia  as  explained  in  my  note:  "  To  think  that  this  trouble,  if  it 
had  to  come  at  all,  did  not  come  at  a  time  when  Antipho  was  hav- 
ing less  trouble  of  his  own,  that  he  might  devote  himself  more 
exclusively  to  helping  me."  I  see  no  real  objection  to  this  inter- 
pretation in  the  "fortunatissime  Antipho  "  of  vs.  504.  Phaedria* 
is  startled  into  this  exclamation  by  the  sudden  appearance  of  Anti- 
pho, and  his  only  thought  for  the  instant  was  that  Antipho's  lot 
was,  after  all,  happy  indeed  as  compared  with  his  own,  for  he  at 
least  had  possession  of  his  loved  one. 

507.    Dziatzko  follows  Bentley  in  rejecting  this  verse. 

619.  In  his  stereotyped  edition  of  all  the  plays,  Dziatzko  gives 
the  words  Di  tibi  .  .  .  duint  to  Geta,  but  in  his  separate  edition 
of  the  Phormio  he  follows  A  and  Umpfenbach  in  giving  them  to 
Phaedria. 

561.  Codex  A  reads  inpone  feret,  while  BCDEFP  have  inpone 
etferet.  I  have  adopted  ei — feret,  suggested  by  Mahly  (Blatter  f. 
das  bay.  Gymnasialwesen,  XXIV  (1888),  p.  478). 

567.  Chremes :  there  can  hardly  be  any  doubt  that  Terence  used 
two  forms  of  the  vocative  (-e  and  -es)  in  such  Greek  words,  just  as 
he  used  two  forms  of  the  accusative,  but  it  is  in  many  passages 
extremely  difficult  to  determine  the  better  reading.  See,  in  addi- 
tion to  the  authorities  cited  by  Dziatzko,  Engelbrecht's  review  of 
Dziatzko's  edition  in  the  Berliner  Phil.  Wochenschrift  V, 
p.  326  ff.,  Minton  Warren's  review  of  Hauler's  Terentiana  in  the 
Am.  Journ.  Phil.  III.  (1882),  p.  483,  Hauler's  Palaographisches  zum 
Bembinus  des  Terenz  in  Wiener  Studien,.XI  (1889),  p.  286,  and 
the  same  writer's  Textkritisches  zum  Bembinus  des  Terenz  in 
Wiener  Studien,  XII  (1890),  p.  242. 

598.  ad  forum :  this  reading  was  adopted  by  Dziatzko  in  his 
stereotyped  edition  of  all  the  plays,  but  in  his  separate  edition  of 
the  Phormio  it  has  been  changed  (on  the  authority  of  Wilh.  Abra- 


APPENDIX.  163 

ham  in  N.  Jahrb.  Sup.  Bd.  14,  p.  207)  to  apud  forum,  for  the 
alleged  reason  that  ad  forum  is  used  "nur  bei  Verben  der  Be- 
wegung."  But  ad  in  the  sense  of  apud,  at,  near,  is  common 
enough  at  all  periods  ;  see  Krebs-Schmalz,  Antibarbarus,  p.  76,  with 
the  authorities  there  cited.  The  phrase  esse  ad  forum  occurs  in 
Plaut.  Most.  829,  and  ad  forum  is  the  unanimous  reading  of  the 
Mss.  in  the  present  passage.  Furthermore,  apud  forum  cannot 
stand  here  for  metrical  reasons.  The  common  rule  (given,  for  in- 
stance, by  Dziatzko,  p.  26,  by  Hayley,  p.  10),  that  the  proceleus- 
matic  is  allowed  by  Terence  in  every  foot  of  an  iambic  senarius 
except  the  last,  has  no  basis  so  far  as  the  fifth  foot  is  concerned. 
See  Introd.,  p.  xxxiv  and  note. 

611.  compluria:  Dziatzko  follows  the  second  hand  of  A  in 
giving  this  word  to  Chremes,  but  the  punctuation  I  have  adopted 
makes  it  possible  to  follow  the  reading  of  the  Mss.  For  the  form 
compluria,  see  Donatus  on  the  passage;  Charis.  p.  125  (Keil); 
Prise.  1,  pp.  350  and  315 ;  Neue-Wagener,  Formenlehre,  II,  p. 
271. 

699.   iam  si:  see  Munro,  on  Lucr.  1,  968. 

768.  My  interpretation  of  this  difficult  passage  was  suggested  by 
Sandford's  note  in  the  Classical  Review,  III  (1889). 

783.  eius :  Bothe's  alteration  of  eius  to  huius,  adopted  by 
Dziatzko,  seems  quite  unnecessary.  See  note. 

818.  potuit:  all  the  Mss.  but  A  have  idpotuit. 

884.  I  have,  with  Dziatzko,  followed  A  in  making  this  the  begin- 
ning of  a  new  scene,  but  I  do  not  feel  sure  that  such  a  division  is 
correct.  The  illustrated  Mss.  make  no  division  here,  and  there 
can  be  little  doubt  that  the  pictures  of  the  characters  placed  at  the 
beginning  of  each  scene  in  these  Mss.  are  taken  from  a  Ms.  of  the 
best  period  (Leo,  Rh.  Mus.,  XXXVIII ;  Schlee,  Scholia  Terentiana 
[1893],  p.  5).  While  it  does  not  necessarily  follow  that  these 
pictures  are  safer  guides,  in  the  matter  of  scene-division  (Schlee, 
Scholia  Terentiana,  p.  6)  than  the  superscriptions  in  A,  their  testi- 
mony should  have  considerable  weight.  Umpfenbach  and  Dziatzko 
both  accept  their  evidence  at  441  against  A,  which  makes  no  division 
at  that  point.  A  somewhat  serious  objection  to  making  884  the 
beginning  of  a  new  scene  is  that  it  compels  us  to  recognize  the  use 
of  the  exclamatory  infinitive  to  express  a  thought  pleasing  to  the 


164  PHORMIO. 

speaker.  There  seems  to  be  no  inherent  reason  why  the  infinitive 
should  not  be  so  used,  but  as  a  matter  of  fact  it  does  not  occur, 
so  far  as  I  can  find,  anywhere  in  Latin,  with  the  possible  exception 
of  tene  asumbolum  uenire,  in  Phorm.  339.  Even  there,  the  speaker 
seems  to  be  almost  deprecating  the  hard  lot  of  a  rex.  In  Tac.  Dial. 
6,  15,  coire  populum  is  better  taken  with  quod  gaudium.  See 
Bennett's  note  on  this  latter  passage. 

896.  This  verse  is  found  in  the  Mss.  after  905 ;  but  it  is  clear 
that  it  properly  comes  before  Phormio  joins  in  the  conversation. 

902.  I  have  retained  the  reading  of  A.  Dziatzko,  following 
C.  F.  W.  Mtiller,  rejects  this  reading  because  it  requires  the  short- 
ening of  the  second  e  in  uerebamini,  which,  it  is  claimed,  cannot 
be  allowed  for  Terence.  Accordingly,  uerebamini  is  changed  to 
an  rebamini ;  and  as  this  alteration  makes  the  ne  non  id  facerem 
of  the  next  verse  unintelligible,  these  latter  words  are  changed  to 
me  non  id  facere,  against  the  uniform  reading  of  the  Mss.  There 
are  seven  instances  in  Terence  of  the  shortening  of  the  second 
syllable  of  a  polysyllabic  word  when  that  syllable  is  u  long  by 
position,"  and  the  ictus  falls  on  the  third :  uoluptdti,  in  Heaut.  71, 
And.  944,  960,  Hec.  593  ;  uenustatis,  in  Hec.  848  ;  senectutem,  in 
Phorm.  434  ;  mdglstrdtus,  in  Eun.  22.  It  seems  easier  to  suppose 
that  a  vowel  "  long  by  nature  "  was  occasionally  shortened,  under 
similar  circumstances,  than  to  do  away  with  all  exceptions  to  the 
rule  by  making  arbitrary  changes  in  the  Mss.  Cf.  Plaut.  Men.  37, 
Syrdcusas ;  also  Am  ph.  930  pudlcitiam  (according  to  some  editors). 

913.  earn  nunc :  Dziatzko,  in  his  last  edition,  following  BCDP, 
reads  nunc  uiduam.  I  have  followed  A.  The  word  uiduam,  in 
the  inferior  Mss.,  looks  like  a  gloss  upon  earn  nunc. 

949.  sententia :  this  is  the  reading  of  all  the  Mss.,  but  it  has 
been  arbitrarily  changed  by  Fleckeisen,  whom  Dziatzko  follows,  to 
inconstantia.  I  see  no  serious  difficulty  in  sententia,  which  is 
used  in  the  sense  of  decision,  determination,  and  which,  when 
modified  by  puerili,  becomes  nearly  synonymous  with  inconstan- 
tia. For  sententia  in  the  sense  of  determination,  purpose,  seeAuct. 
ad  Her.  3,  24,  40 ;  Cic.  Off.  3,  33,  116. 

966-967.  On  quom  (cum)  in  the  sense  of  the  fact  that,  see  Ltib- 
bert,  Gr.  Stud.  II,  pp.  95-106 ;  Hale,  The  Cum-Constructions  (1889), 
p.  243. 


APPENDIX.  165 

974-975.  For  a  discussion  of  Brix's  claim  that  ne  is  sometimes 
used  in  consecutive  clauses,  see  Am.  Journ.  Phil.,  Vol.  XV.  (Latin 
Prohibitive,  Part.  II.). 

1004.  hem  quid  ais :  Dziatzko  assigns  these  words  to  Nausi- 
strata,  against  the  Mss.,  on  the  ground  that  this  question  seems 
inappropriate  for  Demipho  after  vs.  941  f .  It  must  be  remembered, 
however,  that  hem  and  quid  ate?  of  ten  express  mere  indignation, 
and  do  not  necessarily  imply  surprise.  The  fact  that  Nausistrata 
is  now  present  and  will  hear  what  Phormio  is  about  to  say,  suf- 
ficiently accounts  for  Demipho's  exclamation. 

1028.  faxo  tali  sit  mactatus :  the  oldest  and  best  Ms.  (A)  has 
this  reading ;  the  later  Mss.  have  faxo  tali  eum  mactatum,  though 
in  D  this  was  not  the  original  reading.  The  latter  reading  is  less 
probable,  for  the  further  reason  that  it  would  necessitate  making 
hie  long,  whereas  it  is  regularly  short  in  Terence  (see  note  on  266). 
See  Dziatzko,  Rh.  Mus.  XXXIX  (1884),  p.  341. 

1028-1029.  Dziatzko's  claim  that  a  verse  has  fallen  out  between 
these  two  verses  does  not  seem  to  me  to  be  justified.  See  stage 
directions  for  the  line  and  note  on  the  passage. 

1051.  On  the  use  of  -que  et  in  Terence,  see  my  paper  on  The 
Copulative  Conjunctions  in  the  Inscriptions  of  the  Republic,  in 
Terence  and  in  Cato,  §  28,  Am.  Journ.  PhD.,  Vol.  VIII. 

1054.  Dziatzko,  following  BCDP,  assigns  the  words  eamus  intro 
hinc  to  Demipho.  I  follow  A  in  giving  them  to  Phormio.  The 
fact  that  Phormio  is  to  go  in  another  direction  a  moment  later 
makes  no  difficulty.  After  he  has  uttered  the  words,  Nausistrata's 
question  prompts  him  to  change  his  purpose  and  hurry  off  in  search 
of  Phaedria. 


PARTIAL   INDEX   TO   NOTES. 


[Figures  refer  to  lines.] 


ab  animo,  340. 

abiisse,  315. 

abl.    of    means    with    persons, 

137. 

abs,  201,  378. 
absque,  188. 
accingere,  318. 
ad  aurem,  1030. 
adduce,  309. 
adeo,  55,  389. 
adfinem,  582. 
adgnitam,  Per.  12. 
adjectives  used  substanlively,  212. 
admodum,  315. 
adque  =  atque,  845. 
ad  scopulum,  689. 
adsimulo,  128. 
aduenti,  154. 

adversative  clauses,  60,  537. 
aduorsum,  427;   aduorsum  stimu- 

lum  calces,  78. 
aegritudo,  750. 
aeque  cum,  1032. 
age,  230. 
ain  tu,  970. 
ais,  315. 

alia  sollicitudine,  502. 
aliquod  =  aliquot,  159,  312. 
alliteration,  1,  334. 
allowance  for  slaves,  43. 
Ambiuius  Turpio,  note  on  didas- 

calia,  p.  72. 


ambo,  760. 

amittere,  414, 918. 

amo,  54. 

amplius,  457. 

animi,  187. 

an ini  11 1 n  at 1 1 'n,l iii',  24. 

antiques,  1. 

Apollodoru,   note    on   didascalia, 

p.  73. 

apud  forum,  859. 
apud,  with  personal  object,  810. 
argentum  condonamus  te,  947. 
asumbolum,  339. 
asyndeton,  556,  687. 
at,  900,  1050. 
ater  canis,  706. 
au,  754. 

audire,  with  inf.  or  participle,  7. 
audisset  bene,  20. 
autem,  503,  775. 
balineis,  339. 
cantor,  1055. 
caput,  631. 
career,  373. 
cedo,  197. 

certe  hercle,  hercle  certo,  523. 
chiasmus,  1041. 
Chremes,  Chremetem,  63,  567. 
clam,  1004. 
cogitata,  283. 
columen,  287. 
commerere.  205. 


167 


168 


PARTIAL  INDEX. 


commodum   ) 

commodus,    )    ™3>  614' 

commonstrarier,  305. 

compluria,  611. 

contra,  521. 

oo ram,  914. 

creduas,  993. 

cum  aliquo  stare,  269. 

defendo,  225. 

defungier,  1021. 

denarrabo,  944. 

dies,  523. 

diminutives,  36. 

discedo,  773. 

distaedet,  1011. 

di  suntpro  pitii,  636. 

dixisti,  302. 

doleo  with  ace.,  1052. 

ductare,  500. 

duint,  123. 

dum,  329,  737. 

ecastor,  1050. 

eccere,  319. 

eccum,  464. 

educare,  943. 

em,  52,  688. 

enicas,  856. 

enim,  113,  332. 

enimuero,  465. 

enumquara,  329. 

Epidicazomenos,  Prol.  25. 

equidem,  539. 

esses  proferens,  394. 

est  ubi,  989. 

etiam  tu  hinc  abis,  542. 

et  quidem,  471. 

exsequias  ire,  1026. 

extra,  98. 

fabula,  492. 

face,  397. 

factum  uolo,  787. 

faeneratum,  493. 

familiaritas,  583. 

faxo,  308. 

ferietur  alio  munere,  47. 

Flaccus,  note  on  didascalia,  p.  73. 


forma,  108. 

Fors,  Fors  Fortuna,  841. 

fratri,  820. 

fui,  fueris  in  compound  tenses,  516. 

fungor,  281. 

gallina  cecinit,  708. 

gaudeam  with  ace.,  1052. 

genius,  44,  74. 

gratias  agere,  habere,  894. 

hariolus,  492,  708,  711. 

baud  scio  an,  774. 

Hecyra,  31. 

heus,  152. 

hiatus,  146. 

hoc  actumst,  1009. 

hoc  age,  350. 

hodie,  377. 

iam,  347. 

iam  dudum  with  present,  471. 

iam  recte,  798. 

id  consulerem,  734. 

id  suscenses,  259. 

ilicet,  208. 

ilico,  88. 

illi,  illic,  91. 

illo,  512. 

immo,  338,  1047. 

immo  uero,  936. 

imperative  expressing  permission, 

143,  668. 
imperium,  232. 
inaudiui,  877. 

indicative  in  oral,  obliq.,  9, 17. 
indotatis,  938. 
in  diem,  781. 

infinitive,  force  of,  92,  102, 153. 
initiabunt,  49. 
in  ius  ambula,  936. 
inludere,  916. 
in  malo  crucem,  544. 
inpendent  with  ace.,  180. 
in  pistrino,  249. 
inpluuium,  707. 
inpr  udentem ,  660. 
in  se  admittere,  415. 
interea,  734. 


PARTIAL   INDEX. 


169 


muentas  reddam,  559. 

ipsura,  425. 

ipsus,  178,  260. 

istaec,  77,  170. 

ita  fugias  ne  praeter  casam,  768. 

ita  me  di  ament,  165,  883. 

ita  ut  ne  restinguas,  974-975. 

juxtaposition    of   pronouns,    520, 

900. 

laterem  lauem,  186. 
lectumst,  53. 
logi,  493. 
Ludi  Romani,  note  on  didascalia, 

p.  72. 
ludus,  86. 

Luscius  Lanuuinus,  1. 
inalain  crucem,  368. 
male  factum,  751. 
malum,  723. 
medeor  with  ace.,  822. 
meditata,  248. 
memini  with  inf.,  74. 
meritumst,  305. 
modo  ut,  59,  773. 
nam,  200. 

namquis  =  quisnam,  732. 
natalis  dies,  48. 
-ne,  153,  177,  497. 
ne  clama,  664. 
nempe,  307. 
nescio  quod,  193. 
ni  iubeas,  544. 
nil  quicquam,  80. 
nimium  quantum,  643. 
nisi,  475. 

noli  with  inf.,  555. 
nollem  datum,  796. 
non  in  questions,  384. 
noris,  265. 
nossem,  278. 

numquid  aliud  me  uis,  151. 
noui,  nosses,  382. 
nuptum  dare,  720. 
obstipuisti,  991. 
obstupefecit,  284. 
occasio  with  inf.,  886. 


odio  tuo,  849. 

omission  of  indicative,  80  —  of  in- 
terrogative particle,  120  —  of 
object,  115  —  of  subject  of  inf., 
54, 1014  —  of  subjunctive,  46. 

opere  maxumo,  760. 

oppido,  317. 

opus  est  scito,  584. 

order  of  words,  52, 200, 261, 270, 304, 
344,  400,  410,  431,  669,  730,  732, 
744,  747. 

-os,  -om,  etc.,  14. 

ostium  concrepuit,  840. 

paedagogus,  144. 

paene,  870. 

pallium,  844. 

parasitns,  28. 

patefit,  825. 

pater  uxori  tuae,  872. 

paulo,  822. 

peregre,  243. 

periclum,  326. 

phaleratis,  500. 

plerique  omnes,  172. 

popularis,  35. 

portitores,  150. 

pote,  379. 

potior,  469. 

praeterhac,  800. 

prepositions  with  names  of  islands, 
66. 

present  subj.  in  conditions,  170. 

proceleusmatic,  394. 

prologus,  12,  14. 

prorsum,  980. 

•npoawtrov  irporaTiKov,   35. 

punishment  of  slaves,  76. 

quae  quidem  res  uortat  male,  678. 

quantum  est,  853. 

quantum  potest,  674. 

-que  et,  1051. 

questions,  deliberative,  543,  593, 
608,  736,  737,  827,  till  — indirect, 
117,  122,  247,  358,  462,  557  —  of 
obligation  or  propriety,  419. 

qui,  123,  130,  381. 


170 


PARTIAL   INDEX. 


qui,  quis,  129,354,618. 

quid  ais,  833. 

quid  eum,  480. 

quid  ni,  813. 

quid  tu,  798. 

quin,  223,  272. 

quin  sit  ignoscenda,  1015. 

quo  =  ad  quern,  728. 

quoad,  148. 

quod  =  quot,  705. 

quod  es  dignus,  519. 

quod  suscenseas,  263. 

quoius,  quoi,  60. 

quom  =  quod,  966. 

quom,  cum,  quum,  9,  23. 

quom  aduenissem,  396. 

quom  maxume,  204. 

ratum,  951. 

-refer  -ris  in  2d  pers.  sing.  pass, 
of  verbs,  61,  173. 

reducere,  86. 

rellatum,  21. 

repudium   remittere,  928. 

repudium  renuntiet,  677. 

respiciunt,  817. 

rex,  339. 

Roman  allusions,  303,  964. 

sane,  667. 

satietatem  amoris  absumere,  834. 

satin,  802. 

satins,  956. 

scelus,  978. 

scribam  dicam,  127. 

scrupulus,  954. 

sepultus  sum,  943. 

seruom  hominem,  292. 

seruo's  (seruos  es),  295. 

sescentas,  668. 

scibat,  529. 

similis,  501. 

sine  dote,  757. 

sin  est  ut  uelis,  925. 

slaves,  in  court,  292  —  manumis- 
sion of,  830— prices  of,  558. 

sodes,  103. 


solus,  854. 

statim,  790. 

stetit,  9. 

streuuom  hominem  praebuit,  476. 

subjunctive  of  obligation  or  pro- 
priety, 297,  468. 

subolet,  474. 

Sulpicius  Apollinaris,  Per.  8. 

Sunium,  837. 

syncopated  forms,  13, 101. 

talentum,  393,  644. 

tarn  with  verbs,  111,  998. 

tantam  fortunam  esse  datam,  884. 

te  idem  feceris,  426. 

temere,  757. 

tense,  fut.  perf.  for  fut.,  308,  516, 
1028—  imperf.  for  pluperf.,  108 
— perf.  of  date,  9 — perf.  in  pro- 
hibition, 514,  742 — perf.  for 
pres.,  501  — perf.  with  paene,  870 
—pluperf.  for  perf.,  594  — pres. 
for  fut.,  849,  963. 

testimoni  dictio  est,  293. 

tonstrina,  89. 

ualete  et  plaudite,  1055. 

uerba  dare,  713. 

uerba  fiunt  mortuo,  1015. 

uerbero,  684,  850. 

uereor,  with  gen.,  971. 

uetus,  1. 

uiciniae,  95. 

uidere,  with  inf.  or  participle,  1. 

uincibilem,  226. 

unctum  atque  lautum,  339. 

uolup,  610. 

uorsuram  soluere,  780. 

uostram  fidem,  757. 

ut  cautus  est,  715. 

uti  foro,  79. 

ut  =  utinam,  687. 

ut  with  subj.  in  questions,  304. 

utibile,  690. 

Varro,  M.  Terentius,  note  on  the 
didascalia,  p.  72. 

wigs,  51. 


BIBLIOGRAPHY  OF  THE  LITERATURE  ON  TERENCE 
THAT  HAS  APPEARED  SINCE  THE  COMPLETION 
OF  DZIATZKO'S  EDITION  IN  1884. 


[N.B.  —  This  bibliography  does  not,  as  a  rule,  include  publications 
that  comprehend  Latin  usage  in  general,  or  those  that  are  concerned 
with  Terence  only  incidentally.  Most  of  the  literature  that  appeared 
in  the  year  18&4  is  omitted.] 


EDITIONS, 
(a)  TEXT. 

Cotes,  K. :  The  Andria  and  the  Phormio.  With  examination  ques- 
tions. Oxford,  1886. 

Preble,  H. :  Adelphoe.     Text  with  stage  directions.     Boston,  1887. 

Hinstin,  G. :  See  under  Translations.     1889. 

Materne,  A. :  See  under  Translations.     1890. 

Nicolson,  F.  W. :  Phormio.  Text  with  stage  directions.  Boston, 
1890. 

Rolfe,  J.  C. :  Heauton  timorumenos.  Text  with  stage  directions. 
Boston,  1891. 

Morgan  and  Greenough  :  See  under  Translations.     1894. 

(6)  ANNOTATED. 

Cesari,  A.  :  See  under  Translations.     1885. 

Freeman,  C.  E.,  and  Sloman,  S.  :  Andria.  With  Notes  and  Intro- 
ductions. Oxford,  1885. 

Materne,  A.  :  See  under  Translations.     1886. 

Sloman,  A. :  Adelphi.  With  Notes  and  Introductions,  etc.  Lon- 
don, 1886. 

171 


172  BIBLIOGRAPHY. 

Boue,  A. :  Les  Adelphes.  Texte  latin,  public"  avec  la  notation  m& 
trique,  des  notes,  etc.  Paris,  1887. 

Psichari,  J.  :  Les  Adelphes.  Texte  latin,  public"  avec  une  intro- 
duction, des  notes,  les  fragments  des  Adelphes  de  Me'nandre, 
les  imitations  de  Moliere,  etc.,  sous  la  direction  de  E.  Benoist. 
Paris,  1887. 

Shuckburgh,  E.  S. :  Hauton  timorumenos.  With  Introduction 
and  Notes.  1887. 

Sloman,  A. :  Phormio.  With  Notes  and  Introductions.  London, 
1887. 

Thomas,  P. :  Hecyra.  Texte  latin,  avec  un  commentaire.  Paris, 
1887. 

Pepe,  L. :  See  under  Translations.     1888. 

Pessonneaux,  R.  A.  :  Les  Adelphes.  Revue  sur  les  textes  les  plus 
regents,  avec  une  preface  et  des  notes  en  fran^ais.  Paris, 
1888. 

Spengel,  A. :  Komodien.     I.  Andria.     Zweite  Aufl.     Berlin,  1888. 

West,  A.  F. :  Andria  ;  Hauton  timorumenos.  With  Introduction 
and  Notes.  New  York,  1888. 

Parry,  E.  J. :  Comoediae.     London,  1889. 

Psichari,  J. :  Les  Adelphes.  Texte  latin  avec  des  notes,  les  frag- 
ments des  Adelphes  de  Me'nandre,  les  imitations  de  Moliere, 
sous  la  direction  de  E.  Benoist.  Paris,  1889. 

Jacquinet,  G. :  Les  Adelphes.     Avec  des  notes,  etc.     Paris,  1890. 

Broughton,  R. :  See  under  Translations.     1891. 

Hawkins,  E.  L. :  See  under  Translations.     1891. 

Psichari,  J. :  Les  Adelphes  .  .  .  sous  la  direction  de  E.  Benoist, 
5  tirage.  Paris,  1890.  6  tirage.  Paris,  1891. 

Stampini,  E. :  Gli  Adelphoe,  con  note.     Torino,  1891. 

Boue,  A. :  Les  Adelphes.  Texte  latin,  public"  avec  des  notes. 
Paris,  1892. 

Fabia,  Ph. :  Adelphoe.  Texte  avec  une  introduction,  des  notes 
critiques  et  un  commentaire  explicatif .  Paris,  1892. 

Stewart,  A. :  See  under  Translations.     1892. 

Ashmore,  S.  G. :  Adelphi.  With  Introduction  and  Notes.  Lon- 
don and  New  York,  1893. 

Geoffrey,  J. :  Adelphi.  Edition  classique,  avec  notes.  Paris, 
1893. 


BIBLIOGRAPHY.  173 

Linderstrom-Lang,  C.  F. :  Phormio   (Commentar).     Kobenhavn, 

1893. 
Hoekstra,  P. :  Blijspelen.    Met  inleidung  en  anteekeningen,  etc. 

I.  Andria ;  Heauton  tiinorumenos.     II.  Phormio ;  Adelphoe. 

Haarlem,  1894. 

Materne,  A. :  See  under  Translations.     1894. 
Sloman,  A. :   Phormio.      With  Notes  and  Introduction.     2d  ed. 

Oxford,  1894. 
Gray,  J.  H. :  Hauton  Timorumenos.     With  an  Introduction  and 

Notes.    Cambridge,  1895. 

TKANSLATIONS. 

Betolaud,   V. :    Les   Comedies  de  Terence,  traduction  nouvelle. 

Paris,  1885. 
Caesari,  A. :  Le  Commedie,  volgarizzate,  etc. ,  con  note  di  G.  Rigu- 

tini.    Milan,  1885. 

Lasso,  A. :  Comedias,  traducidad  en  verso.     Madrid,  1885. 
Materne,  A. :  Les  Adelphes.     Expliques  litteralement,  traduits  en 

fran<jais  et  annotes.     Paris,  1886. 
Mongan,   R. :   Phormio,   or  the  Parasite.     A  literal  translation. 

London,  1886. 
Giles  :   Comedies.     Construed  literally.    Vol.  I :  The  Andria  and 

The  Eunuchus.     London,  1888. 

Herbst,  J. :  Lustspiele,  Deutsch  von,  etc.    Berlin,  1888. 
Pepe,  L. :   L'Eunuco  e  gli  Adelfi  commentati  e  tradotti  in  versi. 

Torino,  1888. 
Straumer,  F. :  Eine  deutsche  Bearbeitung  des  Selbstqualers  des 

Terenz  aus   dem   16.  Jahrhundert  in  einer  Handschrift  der 

Zwickauer  Rathsbibliothek.     Chemnitz,  1888. 
Hinstin,  G. :  Comedies.     Traduction  nouvelle,  avec  le  texte  latin, 

I.    Paris,  1887.     II.    Paris,  1888.     III.    Paris,  1889. 
Burnet  and  Haydon :  Adelpbi.    London,  1890. 
Herbst,  J. :  Lustspiele,  Deutsch  von,  etc. :  Phormio.    Zweite  Aufl. 

Berlin,  1890. 
Materne,  A. :  Les  Adelphes.     Traduite,  etc.    Avec  le  texte  latin 

Paris,  1890. 
Mongan,  R. :  Andria.    Literally  translated.    London,  1890. 


174  BIBLIOGRAPHY. 

Broughton,  R. :  Andria,  Phormio,  and  Heautontimorumenos.  A 
literal  translation,  with  Introductions,  Analyses,  and  Notes. 
Oxford,  1891. 

Hawkins,  E.  L. :  Adelphi.  Literally  translated,  with  Notes  and 
Analysis.  Oxford,  1891. 

Herbst,  J.  :  Lustspiele,  Deutsch  von,  etc. :  Der  Selbstpeiniger 
(Heautontimorumenos).  Zweite  Aufl.  Berlin,  1891. 

Newman,  Card. :  Phormio,  in  usum  puerorum,  Fabulse  qusedam  ex 
Terentio  et  Plauto.  London,  1891. 

Stewart,  A. :  Phormio.  Literally  translated,  with  Notes.  Cam- 
bridge, 1892. 

Herbst,  J. :  Lustspiele,  Deutsch  von,  etc.  11  u.  12 :  Die  Schwieger- 
mutter.  Berlin,  1893. 

Plaistowe,  F.  G. :  Phormio.     1893. 

Materne,  A. :  Les  Adelphes.  Expliqufis  litte'ralement,  trad,  en 
fran$ais  et  annotfes,  etc.  Paris,  1894. 

Morgan ;  Greenough :  Phormio.  Dziatzko's  text,  with  a  new  pro- 
logue by  J.  B.  Greenough,  with  an  English  prose  translation 
by  M.  H.  Morgan,  and  with  the  Vatican  miniatures  accurately 
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Stock,  G.  and  R.  A.  :  Andria,  Hautou  Tim.,  Phormio,  Adelphi. 
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TEXTUAL  CRITICISM,   MANUSCRIPTS,    SCHOLIA,   ETC. 

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Engelbrecht,  A.  G.  :  (Review  of)  P.  Terenti  Afri  comoediae  Recen- 

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Braune,  Th. :  Zu  Terentius.     (Neue  Jahrbucher  f.  Philologie,  131, 

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Goetz,  G. :  Glossarium  Terentianum.     Jena,  1885. 
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p.  162.)     1885. 


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Manly,  J. :  Zu  Terentius:  Phorm.  193,  409,  622,  561,  1021. 
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Baumann,  E. :  Quaestiones  Terent.     Mannheim,  1890. 

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Hauler,  E. :  Textkritisches  zum  Bembinus  des  Terenz.  (Wiener 
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Schlee,  Fr. :  Scholia  Terentiana.    Leipzig,  1893. 
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LANGUAGE,   STYLE,   ETC. 

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Wolfflin,  E. :  Der  Reim  im  Lat.  (Archiv  1,  3,  p.  350.  For  Ter- 
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Bertelsmann,  K. :  Ueber  die  verschiedenen  Formen  d.  Correla- 
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Kaempf,  W. :  De  pronouiinum  personal,  usu  .  .  .  apud  poetas 
scaen.  Rom.  Berlin,  1885. 

Neumann,  E. :  De  coinpositorum  a  dis  (di)  incipientium  apud 
prise,  scrip.,  etc.  Jena,  1885. 

Stowasser,  J. :  Satura :  Plautus ;  Terenz.  (Wiener  Studien,  7,  1, 
p.  36.)  1885. 

Cramer,  F. :  De  perfect!  coniunctivi  usu  .  .  .  apud  prise,  scrip. 
Lat.  Marburg,  1886. 

Dembitzer :  De  ratione,  quam  Plautus  et  Terentius  in  reciproca 
ratione  exprimenda  inierint.  Krakau,  1886. 

Langen,  P. :  Die  Konstruction  von  utor,  fruor,  fungor,  potior  im 
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Richardson,  G.  M. :  De  dum  particulae  apud  priscos  scriptores  la- 
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Stahl,  J. :  De  natura  atque  usu  imperativi  apud  Terentium. 
Marburg,  1886. 

Arlt,  A. :  Servare  bei  Terenz  und  Plautus  als  Nachtrag  zur  Erkla- 
rung  von  Hor.  Sat.  1,  1,  89.  Wohlau,  1887. 

Boettger,  0. :  De  dum  particulae  usu  apud  Terentium  et  in  reliquiis 
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Brugmann,  0. :  Ueber  d.  Gebrauch  des  condicionalen  ni  in  d.  alt. 
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Dorsch,  J. :  Assimilation  in  d.  compositis  bei  Plautus  und  Terenz. 
Prag,  1887. 

Elmer,  H.  C. :  The  Copulative  Conjunctions  que,  et,  atque  in  the 
Inscriptions  of  the  Republic,  in  Terence  and  in  Cato.  (Amer- 
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Hintze,  P. :  De  an  particulae  apud  priscos  scriptores  latinos  vi  et 
usu.  Brandenburg,  1887. 


178  BIBLIOGRAPHY. 

Niemb'ller,  W. :  De  pronominibus  ipse  et  idem  apud  Plant,  et  Ter, 

HalisSax.,  1887. 
Reinkens,  J.  M. :  Ueber  den  accusativus  cum  infinitive  bei  Plautus 

et  Terentius.     Diisseldorf,  1887. 

Robel :  De  usu  adnominationis  apud  Rom.  poet.  com.    1887. 
Slaughter,  M.  S. :  On  the  Substantives  of  Terence.     (Johns  Hop- 
kins Univ.  Circulars,  6,  57,  p.  77.)     1887. 
Bach,  J. :   De  attractione  inversa  apud  prise,  scrip.  Lat.    Strass- 

burg,  1888. 
Bach,  J. :   De  usu  pronominum  demonst.  apud  prise,  scrip.  Lat. 

1888. 
Becker,  E. :  Beiordnende  und  unterordnende  Satzverbindung  bei 

den  altlateinischen  Schriftstellern.     Metz,  1888. 
Gutjahr,  E.  A.  :  Terenzische  Betonungsfragen.     Leipzig,  1888. 
Gutjahr-Probst :  Altgrammatisch.es  und  Neugrammatisches  zur  lat. 

Syntax.    Leipzig,  1888.     (Der  Gebrauch  von  ut  bei  Terenz  und 

Verwandtes. ) 
Lalin,  E. :  De  dum,  donee,  quoad  particularum  usu  apud  Teren- 

tium.     Norkoping,  1888. 
Neumann,  H. :  De  futuri  in  priscorum  Lat.  .  .  .  cotidiano  sermone 

vi  et  usu.    Part  I.    Breslau,  1888. 
Schneider,  Jos. :  De  temporum  apud  priscos  scriptores  latinos  usu 

quaestiones  selectae.     Glatz,  1888. 
Weninger,  A. :  De  parataxis  in  Terenti  f abulis  vestigiis.    Erlangen, 

1888. 
Wirtzfeld,  A.  :  De  consecutione  temporum  Plautina  et  Terentiana. 

Minister,  1888. 
Bell,   A. :   De  locativi  in  prisca  latinitate  vi  et  usu.     Breslau, 

1889. 
Bock,  W. :  Subjecta  rei  cum  actionis  verbis  coniungendi  usus  quo- 

modo  in  prisca  latinitate  sit  exortus,  etc.    Leipzig,  1889. 
Ferger,  W. :  De  vocativi  usu  Plaut.  Terentianoque.   Strassburg,  1889. 
Simsay,  L.  :  De  tropis  et  figuris  apud  Terentium.     Klausenburg, 

1889. 

Smith,  K.  W. :  Archaisms  of  Terence  mentioned  in  the  Commen- 
tary of  Donatus.    Baltimore,  1889. 
Tammelin,  E. :  De  participiis  priscae  lat.  quaestiones  syntacticae. 

Helsingfors,  1889. 


BIBLIOGRAPHY.  179 

Wyss,  W.  v. :   Spruchwb'rter  bei  den  rbm.  Komikern.    Zurich, 

1889. 
Zimmermann,  E.  :   Quaestionum  Plautinarum  et  Terentianarum 

liber   prior.      De    verbi  posse   formis   dissolutis.      Lorrach, 

1889. 
Morris,  E.  P. :  On  the  Sentence-Question  in  Plautus  and  Terence. 

(American  Journal  of  Philology,  10,  397,  and  11,  pp.  16  and 

145.)     1889-1890. 
Baumann,  E.  :  Quaestionum  Terentianarum  Liber  I ;  De  Terenti- 

ano  verbi  substantivi  usu,  etc.     1890. 
Karsten,  H.  J. :  De  particulae  tamen  significatione  antiquiss.,  etc. 

(Mnemosyne  18,  p.  307.)     1890. 
Lane,  G.  M. :  Ellum  in  Plautus  and  Terence.     (Harvard  Studies, 

I,  p.  192.)     1890. 
Richter,  P. :   De  usu  particularum  exclamat.  apud  prise,  scrip. 

Lat.     (Studien  fur  archaisches  Latein,  I,  2,  p.  387.)     1890. 
Stange,  E.  :  De  archaismis  Terentianis.     Wehlau,  1890. 
Asmus,  W. :  De  appositionis  apud  Plautum  et  Terentium  colloca- 

tione.    Halle,  1891. 
Bach,  J. :  De  usu  pronominum  demonstrativorum   apud  priscos 

scriptores  latinos  (Studemund's  Studien    auf  d.  Gebiete  des 

archaischen  Lateins,  II).     Berlin,  1891. 
Koczynski,  L. :  De  flex.  Graec.  nom.  propr.  apud  lat.  poet,  scaeji. 

1891. 
Scherer,  P. :  De  particulae  quando  apud  vetustissimos  scriptores 

Latinos  vi  et  usu  (Studemund's  Studien,  II).  Berlin,  1891. 
Slaughter,  M.  S. :  The  Substantives  of  Terence.  Boston,  1891. 
Helwig,  N. :  Die  Wb'rter  &\ii-bilis  bei  Plautus  und  Terenz.  (Russ. 

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Merten,  W. :  De  particularum  copulat.  apud  veteres  Rom.  scrip. 

usu.    Marburg,  1893. 
Nicolson,  F.  W. :   The  Use  of  hercle,  edepol,  ecastor,  by  Plautus 

and  Terence.     (Harvard  Studies,  IV.)     1893. 
Platner,  S.  B. :  Notes  on  the  use   of  Gerund  and  Gerundive  in 

Plautus  and  Terence.     (American  Journal  of  Philology,  14,  p. 

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Wien,  1893. 


180  BIBLIOGKAPHY. 

Elmer,  H.  C. :  The  Latin  Prohibitive.     (Part  I,  American  Journal 

of  Philology,  15,  p.  133 ;  Part  II,  p.  299.)     1894. 
Fleckeisen,  Alfr. :  Forsitan  bei  Terentius.     (Neue  Jahrbiicher  fur 

Philologie,  etc.,  149,  4,  p.  284.)     1894. 
Lalin,  E. :  De  particularum  coinparativarum  usu  apud  Terentium. 

Norrcopise,  1894. 
Ryhiner,  Gust. :  De  diminutivis  Plautinis  Terentianisque.   Basileae, 

1894. 
Lindskog:    De  enuntiatis  apud  Plaut.    et   Ter.  condicionalibus. 

Lund,  1895. 

INTERPRETATION. 

Sandford,  P. :  Phonnio,  768.    (Classical  Review,  3,  5,  p.  221.)   1889. 
Speijer,  J.   S. :   Ad  Terentium :   Heaut.   46.      (Mnemosyne,  19, 

p.  50.)     1891. 
Sonny,  A. :   Extrema   linea  (Filolog.  obozrjenije  VI,  1,  p.  19.) 

1894. 
Thomas,  P. :  Remarques  sur  quelques  passages  de  Terence  et  de 

S6neque.    Bruxelies,  1894. 

METRICAL  TREATMENT. 

Meissner,  K. :  De  iambico  apud  Terentium  septenario.     Leipzig, 

1884. 
Meissner,  K. :  Die  strophische  Gliederung  in  den  stichischen  Par- 

tien  des  Terentius.    ( Jahrbucher  f .  Philologie,  129,  4-5,  p.  289.) 

1884. 

Klotz,  R. :  Grundziige  altromischer  Metrik.    Leipzig,  1890. 
Boemer,    A.  :    De    correptione  vocabulorum    natura  iambicorum 

Terentiana.      Minister,  1891. 
Fabia,  Ph. :  Sur  la  fin  monosyllabique  du  se"naire  chez  Terence. 

(Revue  de  philologie,  17,  1,  p.  29.)     1893. 
Franke,  A. :  De  caesuris  septeuariorum  trochaicorum  Plautinorum 

et  Terentianorum.     Halis  Saxonum,  1893. 
Gottschalk,  Fr.  :    Senarius,  qui  vocatur,  Terentianus  comparatur 

cum  trimetro  Graecorum.     Patsckau,  1893. 

Hayley,  H.  W. :  An  introduction  to  the  Verse  of  Terence.     Bos- 
ton, 1894. 


BIBLIOGRAPHY.  181 

Podiaski,  Otto :  Die  trochaischen  Septenare  des  Terenz,  mit  besond. 

Beriicksicht.  d.  Hecyra.     Berlin,  1894. 
Greenough,  J.  B. :  Early  Latin  Prosody.     (Harvard  Studies,  V, 

p.  57.     1895.) 

MISCELLANEOUS. 

Hildebrandt,  F. :  De  Hecyrae  Terentianae  origine.     Halle,  1884. 
Kampe,  Fr. :  Die  Lustspiele  des  Terentius  und  ihre  griechischen 

Originale.    Halberstadt,  1884. 
Keseberg,  A. :  Quaestiones  Plautinae  et  Terentianae  ad  religionem 

spectantes.    Lipsise,  1884. 
Klasen,  J. :  Quam  rationem  Terentius  in  contaminatis,  quae  dicun- 

tur,  fabulis  componendis  secutus  esse  videatur.    Pars  I :  Adel- 

phoe.    Rheine,  1884. 
Regel,  G. :  Terenz  im  Verhaltniss  zu  seinen  griechischen  Originalen. 

Wetzlar,  1884. 
Bartels,  E. :  De  Terenti  memoria  apud  Nonium  servata.    Strass- 

burg,  1885. 
Rohricht,  A. :  Quaestiones  scenicae  ex  prologis  Terentianis  petitae. 

(Dissertationes  Argentoratenses,  9,  p.  294.)     1885. 
Gerstenberg,  H. :  De  Eugraphio  Terenti  interprete.     Jena,  1886. 
Greifeld,  A. :  De  Andriae  Terentianae  gemino  exitu.     Halle,  1886. 
Havet,  L. :  Sur  les  prologues  de  1'Heauton  timorumenos,  de  1'  He- 
cyra et  du  Phormio.     (Revue  de  Philologie,  10,  1,  p.  12.)  1886. 
Rosenstock,  P. :  De  Donate  Terenti  et  Servio  Vergili  explicatore, 

syntaxeos  latinae  interpretibus.     Konigsberg,  1886. 
Abel,  E.  :  Biographic  des  Terentius.    Budapest,  1887. 
Abel,  E. :   Die  Terenzbiographien  des  Alterthunis  und  des  Mit- 

telalters.    Budapest,  1887. 
Havet,  L. :  Sur  la  date  des  Adelphes  de  Terentius.     (Revue  de 

Philologie,  11,  1,  p.  48.)     1887. 
Vallat,  G. :  Quomodo  Menandrum  quoad  praecipuarum  personarum 

mores  Terentius  transtulerit.    Paris,  1887. 
Fabia,  Ph. :  Les  Prologues  de  Terence.     Paris,  1888. 
Fabia,  Ph. :  Les  Prologues  de  Terence.     Paris,  1889. 
Hodermann :  Findet  die  alteren  Griech.  Dramatikern  auferlegte 

Beschrankung  hinsichtlich  der  Schauspielerzahl  Anweudung 

auf  die  Komodien  des  Terenz  ?     1889. 


182  BIBLIOGRAPHY. 

Nencini,  F. :   De  contaminatione  in  Terenti  Adelphis.     (Annali 

della  scuola  normale  di  Pisa,  5  (9).)     1889. 
Andersson,  A. :  Vocabula  variarum  rerum,  etc.     Stockholm,  1538. 

Glosor  till  Terenti  Andria.     Med  inledning,  anmarkningar  och 

alfabetisk  index  ofver  de  svenska  orden,  etc.    Upsala,  1890. 
Gabotto,  F. :  Appunti  sulla  fortuna  di  alcuni  autori  romani  nel 

medio  evo  (6  Terenzio).     Verona,  1891. 
Le  Blant,  E. :  A  propos  d'une  gravure  sur  bois  du  Tdrence  du  1493. 

(Revue  arche"ologique,  17.)     1891. 

Nencini,  Fl. :  De  Terentio  eiusque  fontibus.     Livorno,  1891. 
Hermannowski,  E. :  Quaestiones  Terentianae  selectae.     I.  De  pro- 

logi  Heautontimorumenu  genuina  forma.    II.  Ex  prologis  quid 

de  ordine  fabularum  appareat.     Halle,  1892. 

Rotter,  E. :  De  Heautontimorumeno  Terentiana.     Bayreuth,  1892. 
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